The Player Options dialogue provides options for configuring RAM use, sample quality, and MIDI controllers, with the latter including a Learn function for use with hardware controllers.For the majority of the instruments, the combination of program types covers the most frequently used performance articulations such as legato, staccato, spiccato, pizzicato, and trills, with a variety of other 'expression' style programs also included. As with most modern orchestral libraries, however, HSO also includes a large number of key-switched programmes. These offer different performance articulations within a single program, with the user switching between them via a number of MIDI notes located outside the normal range of the instrument. This makes it possible to play a complete performance (for example a string line that moves between legato, spiccato, and pizzicato) in real time without have to break it down into several MIDI parts and record it in a number of passes. These programs (the most comprehensive of which Steinberg term Combis) do, however, contain greater numbers of sample layers and so occupy more RAM when loaded.
While Halion Player doesn't include the comprehensive editing facilities of the full version of Halion, the eight Q Control knobs provide useful editing possibilities. Within many HSO programs these tweak the Ambience (amount and time) and Body (the amount of body resonance) settings. The technical details of the Real Ambience feature are a little thin on the ground in both the manual and on the Steinberg web site, but it is described as a 'true recorded ambience'. However it is achieved, it sounds very good and certainly seems to place many of the sounds in a 'real' space.
As with the original HSE, the programs are split into four main types; Xfade, Xswitch, Velocity, and Velocity With Pitch-bend, although many of these come in key-switch varieties also. Xfade provides the most realistic performance, with crossfades between sample layers of different playing dynamics controlled by the Crescendo Controller (which uses MIDI Expression, although you can set up the MIDI Modulation to control this instead). This makes for very smooth and expressive crescendo or decrescendo performances, but given that all the sample layers are playing at the same time it's also therefore the most resource-hungry of the program types. Slightly less smooth (but still very good), and slightly less demanding, are the Xswitch programs, while the Velocity programs control sample layers in the more usual fashion. In the Velocity With Pitch-bend programs, velocity determines the initial sample layer played, while the pitch wheel is used to raise or lower the volumes as the note is held.
In terms of performance articulations, the tutti programs cover similar territory to HSE, with legato, tremolo, pizzicato, spiccato (similar to staccato in sound, but achieved by a different bowing action), trills, expression, and accents all available. Many of these come in different varieties. For example, there are loud and soft legato programs and loose and tight pizzicato, while the spiccato includes options for control of the up or down bowing action.
Solo instrument programs are supplied for violin, viola, cello, and double bass and these are split into Xswitch, Velocity, and Velocity With Pitch-bend types, with plenty of keyswitch options available. These programs include similar performance articulations to the sections, but with the added bonus of some fast-attack, short- and long-bow staccato (as opposed to spiccato) and ornament programs. The violin and viola legato programs feature quite a strong vibrato that is gradually introduced as a note is held. This sounds wonderful in the right musical context (sad, lyrical melodies for example), but might not suit all situations. Unlike the Garritan Stradivari Solo Violin (reviewed in SOS August 2006), there is no way to control the speed of the vibrato here, but, that comment aside, these are very p
