Any Halion 7 rumours?

Don’t take it literally, people.

I would like some simple or easy editing
Maybe stripped down to the more commonly used editing functions visible on an alt gui
This would be less overwhelming for people like me who are a bit dumb and can’t afford sound engineering training
And also do not have the attention span for the half hour instructional videos that cover every single aspect that mostly for me go unused for people more geared to making pretty sounds that go with other sounds

Anyway also if there is a simpler yet diverse and good quality alternative where I can do Wavetable sampling for more acoustic sounds and instruments like I could in Halion 6 then please tell me to do one out of this forum and buy a certain product

Off topic, kinda cos asking about 3rd party shizzle, or maybe I could just watch the half hour video ( gonna need some Ritalin for that ) and try not to have an onslaught of narcolepsy

Matt, do you mean being able to bypass the simple GUI Shells? Like the Halion Sonic SE content that gives you zero real synthesis control?



I tried steinberg activation manager, no
Halion 7 appears, is this a joke or what ?.
(reffering to the screen shot in this forum!).

Can’t tell if you’re being serious because it sems obvious that if you don’t own a given product you wouldn’t see a license for it on your machine.

The photo above is from a video article, see Sneak look of new activation manager and Dorico

I own Halion 6, its on my usb elicenser dongle.
About referring , asking , if its was a joke, i meant it as a compliment!.
We all look forward to the new Halion 7.

Its just strange, i dont see Halion 7 in my activations
manager on windows 10!.

Because you don’t own it. (and can’t, since it hasn’t been released)

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Yes, i understand, but was confused, because i saw this screen shot, so i initial thoughts that, i could see it too on the steinberg activation manager, as maybe none released preview product, as sitting there, when a screen shot of halion 7, appears in the activation manager, maybe i could see it too.
I apologize for my confusing.

Looking forward to Halion 7.


Well, regardless, I’m PERSONALLY hoping that they knock it out the park THIS TIME…PLUS…DONT pull the "Oh we are releasing Version 7 Hype Machine…only to disappear for YEARS…UNTIL Version 8.


I did pick up UVI Falcon 2.5 in a recent promotion and I find it quite a bit easier to use for sound design.

I hope HALion 7 comes with significant UI/UX changes that increase workflow efficiency, productivity, and usability.


Are we there yet? :smile:

Greg Ondo had a HALion 7 licence in Steinberg Activation Manager on the Mac he was using for yesterday’s Cubase Hangout on YouTube.

I think there is a way to go yet, as Steinberg are in the process of releasing Apple Silicon and Steinberg Licensing updates for the instruments that will not be undergoing a paid update in the near future. The process of moving licences from eLicenser to Steinberg Licensing without a paid update is due to start in the next couple of weeks for WaveLab 11 licence owners. All this needs to be in place in order to migrate existing content licences to Steinberg Licensing and to allow Absolute to move to Steinberg Licensing.

Steinberg might surprise me and release HALion 7 without completing this other work first. We will see!

At this point, I kind of only want Groove Agent 5 off the dongle. I don’t mind losing the rest of Absolute, but Groove Agent allows me to avoid having to use Maschine or MPC for sampling for beat making. I can do it all in Cubase using Groove Agent 5 (SE 5 doesn’t Sample).

Outside of that, I don’t really care that much for the rest of the bundle. I have replaced pretty much everything else with stuff that is more convenient to use. I have Serato Sample, but I prefer an MPC-style workflow.

They need to hurry up with WaveLab Pro 11, though. I’ve been checking the website daily to not miss when the Voucher tab pops up.


When you don’t have your dongle with you…

The DAW can sample, edit samples, and even easily resample (instant render) very well. Record to regular audio tracks. Splice/edit, and drag to SE pads?

Even in H6, which can sample by itself, I often find a better workflow just sampling on audio tracks in Cubase (can even do 6 channel surround sound stuff there).

Groove Agent can go on a soft eLicenser on its own, and frankly it’s likely to move over to Steinberg Licensing before the Absolute Bundle does. Groove Agent 5 SE is there, so the work has already been done.

This workflow is 10x as much work that takes 5x longer to execute.

The whole point of Groove Agent 5 is it copies and pastes the [for example] MPC workflow into Steinberg’s DAW with a well-integrated sampling solution. If you’ve ever sampled with MPC or Maschine, you won’t want to go back to recording things to the arranger and then manually chopping things up to drag to pads - not that you ever need to do that, since the Sampler Track 2 can trigger slices…

And I don’t know why you’d want to use HALion 6 for this over Groove Agent 5… like, ever… beyond obvious “I own one and not the other” situations.

The way you describe doing it, is how some YouTubers show people how to do it in Studio One using Impact XT and an Atom Controller.

That radically different to using Groove Agent 5, Maschine or MPC to sample.

If you want to record audio clips and trigger slices, you can do that with Sampler Track 2. You don’t need Groove Agent - SE or otherwise - for that. You can also use something like Serato Sample, Battery 4 and other tools for that.

If you already own Maschine 2 or MPC 2 (either stand-alone or via hardware purchase), you can use those as plug-ins to accomplish this, instead. Groove Agent 5 just makes it easier and removes the need to do compulsory setup for those plug-ins within Cubase (since you can just export the GA5 Mixer to Cubase), etc.

Comparing HALion to Groove Agent is like Comparing Kontakt to Groove Agent. It’s not a good comparison, and it falls apart even further when you go beneath the surface (“but, they both sample?!”) and look at the tooling they provide.

Not sure what surround has to do with that, either. 100% irrelevant to what I was talking about.

Steinberg…care to drop us a TINY bone here other than a “leaked” possible update window? Any BALLPARK to when it will come out at least? Are you guys gonna fix the awful cpu load on the wave sequencing engines? How about the interface…are we getting a modern one? Howzzz about those old Motif waveforms…Surely we can have them. They aren’t even on the market anymore! And FINALLY…how about porting FDSP/AN/VL synthesis as purchasable “engines” or something!



Hopefully Steinberg will release all Absolute related VSTs in one Absolute update. Backbone, Halion, Groove Agent, Padshop 2 … 100 Euros each …

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Dude, I didn’t chime in to get chewed out.

My understanding was that you need GA to be on the new licenser system, perhaps because you have it on a dongle rather than the old soft-licenser, and don’t always have that dongle with you.

I just offered a tip for situations where you might have Cubase 12 in front of you, but not all your other keys for stuff like GA5 working! You’d still have access to GA SE, and anything you built in there could later be pulled into GA5 when you get your full system back if you want/need it.

No, it is NOT 10 times as much work. Not even close. Multiple steps to route inputs into, and then record directly into a plugin that’s being hosted in a DAW. Perhaps even fewer to simply record straight to a DAW track, optionally do some analysis/editing/slicing on the arrange window of the DAW (Cubase has power user features to help with all this), and ‘drag elements straight to pads in the plugin’.

My point is that you can sample in the DAW, which integrates quite well with GA. Its sample editing/hit-pointing/slicing/processing, and more is just as, if not well more powerful than anything built into GA (also integrates with macros, remotes, logical editors, and more).

The user interfaces are MUCH larger and user configurable (size/colors/highlights/markers), one can see it from across the console. You can take advantage of quite a lot of DAW features in the sampling/editing process that simply do not exist in very many instrument plugins. You can also do more of it via remote control (foot pedals, scrubber controllers, transport keys on your MIDI keyboard, MPC buttons, your android or ipad tablet/phone, etc).

Sample, instant render effects if you want anything hard rendered into the sample, drag to pad (optional if you’d rather slice it in the DAW first, or in GA itself), tweak. When you get ready to export a kit, you can choose if you want to keep it all in longer continuous audio files, or chop it up into properly trimmed samples.

Finding loop points and setting crossfades is about the only thing I’d rather do in the plugin than with the DAW when it comes to sampling stuff. How often to you need loop points with GA though?

As opposed to: Setup input(s) into plugin (can be a pita, requiring finnicky re-routing/crossfaders/etc, punching sidechain buttons if resampling other plugins, and all kind of mess). Record in very basic featureless plugin transport (which doesn’t function by remote like the DAW), tediously, one thing at a time. Work with tiny user interface of a sample editor that doesn’t come anywhere close to being as nice as the one in the DAW, etc…

I am not ‘comparing’ GA to H6. I’m speaking of ‘sampling in the DAW, and then moving those samples to just about ANY sample player you like’. Be it GA, HAlion, or any other one that supports simple drag and drop of parts/elements from the Cubase arrange window into the plugin’s UI.

In its simplest form…assuming you already have a basic project template ready to record tracks from any/all inputs on your rig to established audio tracks.

Step 1: Arm track(s). No problem to sample many channels at one time. (Add some steps mixing all that down to a single stereo sample if you’re doing several tracks at once)

Step 2: Start DAW Transport recording and trigger whatever you are sampling. Stop recording when done (the transport can continue playing while you work if need be).

If you want, while the transport is recording, go ahead and make several samples…on as many inputs/tracks as you like. No reason to stop/start things every time. After all, it’s bone head easy to use the scissor tool…also bonehead easy to just drag the whole thing into GA and cut it up there if preferred.

Step 3: OPTIONAL…use the extensive Cubase sample editing features to edit/slice/dice/process. Do mixes/submixes if required.

Step 4: Call up GA if not already visible.

Step 5: Locate the target pad if not visible and Drag element(s) from Cubase Arrange Window to GA pad(s).

Step 6: Do what you’d normally do inside GA to the sample(s) from there (as if you’d recorded it there in the first place).


Step 1: Route the proper set of inputs into GA.

Step 2: Pull GA to foreground if not already.

Step 3: Locate the pad you wish to record and click it.

Step 4: Click the Recorder Tab in GA if not already there.

Step 5: Click the record button in GA. Trigger your sound. Click stop.

Step 6: Edit your sample and tweak the sounds.

So really, it’s about the same number of steps/clicks to get a BASIC sample into GA using either technique. With the latter however, you miss out on the ‘option’ of extensive post sampling analysis, editing, and processing capabilities of Cubase, your eyes will likely work harder if there’s much sample editing going on in that cramped GA GUI, and you’ll have a much harder time doing it with remote controls if that matters.

Only reason I mentioned H6 had to do with sampling multiple channels (beyond simple stereo stuff) in a single pass for surround sound. It’s where I learned the trick, but it can also apply to GA, or any other sample playing plugin.

Personally, that comes in handy pretty regularly for sampling drum kits aimed at stereo as well, since when I sample percussion stuff, I tend to use MULTIPLE MICROPHONES/channels, all open at the same time (I.E. Top and bottom heads of a single drum, plus an ambient mic in the distance). I can sample all of those channels in one go, then get it mixed down to whatever I’m trying to build to live as a triggered sound inside some kind of plugin.

As for ‘resampling’ stuff from other plugins/synths…doing it in the DAW is way much easier. Can make a MIDI template in a MIDI editor in minutes flat at all the durations, intervals, and velocities required, hit play (or instant render in the case of a VSTi), go have coffee, come back, and I’m pretty much done with the recording part.

Yes, I know about this as well…it’s good to point it out to others in the thread…I do not disagree…

In my experience, it also has some disadvantages when it comes to exporting kits (using all GA internals) and packing them for use in other projects (other DAWs even). By this I mean the feature that automatically maps and spreads the busses/outputs out across the Cubase Mixer all ready for using whatever VST effect plugins you like (even your 3rd party stuff). Perhaps you don’t need to export the kits in portable formats, but it’s something to consider.

Yes, I get what you are saying if the session is a real time impromptu performance…click a pad, record something, it’s ready to use…move on to the next thing.

I was thinking more along the lines of building a heavily edited/processed kit from the ground up in advance, and using it later.

Plus, in recording straight to a pad, you’re still pretty limited to a single stereo input, and have to ‘change the routing’ fairly often if you’re using different mics/inputs/etc.

So…fiddling around to get the right channels into the plugin for recording and making sure it’s all adjusted/gain staged/etc, vs, making a track quick and dirty, fixing it with the vast array of Cubase features, and dragging it onto a pad. To me, the latter is often easier.

I don’t think you’d be forced to ‘manually chop’ so much. Cubase has a number of rather powerful features of its own in this regard, and you can also drag the whole thing into your plugin and chop it up there as you normally would.

As for a ‘live’ MPC in a live DJ kind of situation…Yes, I do see your point about ‘direct to button’ recording. Personally, I wouldn’t be using Cubase to host the MPC like instruments for that scenario though, I’d have my dongle with me and side host chains of samplers (a unique instance for each set of inputs I’d be using to record stuff with) in Bidule instance(s)…but that’s just me.

Cubase (I’m still on 11.5) is pretty glitchy when it comes to inserting/removing things like a VST/VSTi from the project while the transport is going. There are workarounds if you use a good plugin chainer (I use Bidule) on the side, and host stuff within that (hot swap all sorts of stuff on the fly while the transport is going without the nasty glitches)…blah blah…anyway…I’m going way off topic…plus it’s not something I do all that often.

Still, if you’re away from the main rig and can’t use GA5 for some reason (key is on dongle and you do not have it with you?), it is a temp workaround (of course it’s not as good as having full GA5) using SE until you can get back to a system with GA5. You can still make kits there in the interim, and import them into full GA5 when it’s working again.

Pass if you like, and I was not trying to be insulting if you already know this stuff. I was only trying to be helpful.

Some people really do not know that you can sample in Cubase, and drag the stuff into GA.

Some people don’t know how powerful the sample analysis and editing in Cubase can be. They don’t know about the macros, nor the logical editors that can make quick work of laying in hit-points by tempo/audio characteristics/or both, and slicing up something like a drum groove with a few self-built macros.