Ableton Forum

Hi, I got a nice sound in my song but it make popping glitches when I render my final output. The attack is obviously too strong. I went in the settings to change the attack but there is no such thing in Collision... what can I use??

The sound is Bells-Electric Sumo in Collision mallets folder.

Just play a bit with it and you will notice the peaking pop in the echo... especially with headphones...

??
thanks

I'd use compression/limiting to get control of the volume envelope. Collision is a percussion emulator... I don't know how i could make a xylophone's attack fade in.

well, a sound is a sound, they could have include some ADSR like all the others instruments. Actually Im sure there is one just named differently.

I tried a gate but it doesnt sound right as the signal is already processed with echo inside collision... I'll try the compressor.

Other strange thing is that playing the sound in real-time is almost fine but when rendering, it get a lot worst. If it get to that, I'll record that part on a track and manually remove the peaks.

thanks for your reply.

Earwax69 wrote:well, a sound is a sound, they could have include some ADSR like all the others instruments.

yeah, I'd like that as well.. electric, collision and tension are all really focused on emulating physical properties of a sub set of physical instruments- it'd be better if they could just open up the whole parameter space and allow us to take control over the timbral and amplitude envelopes without this pantomime of pretending to be using a glockenspiel that has some variable width drainpipes welded on it.

Yeah, anyway, thanks Oddstep!

Increasing the mallet stiffness % might help (it's located in the lower left corner)

compression sidechained to the other offending fast attack track
or eq out the offending transients' punch..
or automation..
or a small delay at 100% wet to get it out of the way..
either way it's a simple matter of volume/power.. and can be dealt with..

(about the 'popping glitches' ..I presume you mean 'digital clipping' pops..
in which case means you're probably clipping the master track..
or maybe simply clipping the physical outputs when you play it back?)

a mallet gets 'hit' so the attack will be fast..

anyone knows what the mallet (stiffness) actually is,
if I want to recreate something similar in max.


Thanks!

strange you only get the clicks and pops when you render - try increasing latency on your soundcard perhaps.

this usually works for me when I get clicks..

I'm impressed you manageed to make anything nice with this instrument though - I was very disappointed with it and the other physical modelling things that come with Suite.

Anything but Sweet - more like Ableton Bitter.

Play with the mallet stiffness & noise volume dials. Try reducing the velocity on your clip.

I don't seem to be getting the unwanted popping sound you speak of, unless I play with a high velocity & have the noise up too high.

ian_halsall wrote: I'm impressed you manageed to make anything nice with this instrument though - I was very disappointed with it and the other physical modelling things that come with Suite.

Anything but Sweet - more like Ableton Bitter.

^^I think Collision is ace. You can get some really wacked shit out of this baby.

http://www.youtube.com/watch?v=R1o85KfLfnc

double post....

Ok, I'm gonna have another go with it.

I just had this issue on a tune and I desperately needed to fix it, so here is what I came up with.

1.) Get a linear phase EQ, and do a Low Pass Filter at the first point the click stops being reasonable audible.
2.) Group this EQ, and add a Utility set to invert. Then add another chain to the group that's just the dry signal

The result of this is a subtraction that leaves you with only the click. This can be further isolated as much as you want to just be the click (you could use a gate etc).

From here, group this again, and invert, then mix again with the raw signal.

This difference between this and a simple Low Pass Filter is the ability to be able to isolate the click sound itself, and let any higher harmonics that exist later in the sound to come through.

It's just basic math. It also worked a lot better for me than any technique using a High Pass filter for some reason.

For what it's worth I used Fabfilter Q, but any Linear Phase EQ will do the job. As long as it's actually truly linear phase (for the phase cancellation to work correctly).

Somewhat of a work around: Use Operator to make the exciter you want, and string Corpus after it. Then route the pitch of Corpus to the same MIDI track via its side-chain. This will give you a monophonic instance of Collision with an adjustable ADSR. You can also do so whacked out stuff by adding bouncing, modulated delay lines between Operator and Corpus, or indeed whatever effects take your fancy.

Then, if you want to go really nuts, you can group multiple Operators and Corpi together, filter unwanted notes, and create a polyphonic monster synth.

e-theory wrote:I just had this issue on a tune and I desperately needed to fix it, so here is what I came up with.

1.) Get a linear phase EQ, and do a Low Pass Filter at the first point the click stops being reasonable audible.
2.) Group this EQ, and add a Utility set to invert. Then add another chain to the group that's just the dry signal

The result of this is a subtraction that leaves you with only the click. This can be further isolated as much as you want to just be the click (you could use a gate etc).

From here, group this again, and invert, then mix again with the raw signal.

This difference between this and a simple Low Pass Filter is the ability to be able to isolate the click sound itself, and let any higher harmonics that exist later in the sound to come through.

It's just basic math. It also worked a lot better for me than any technique using a High Pass filter for some reason.

For what it's worth I used Fabfilter Q, but any Linear Phase EQ will do the job. As long as it's actually truly linear phase (for the phase cancellation to work correctly).

Correct me if I'm wrong, but isn't Live's built-in EQ linear phase, when in HQ mode?