Reply to thread

Message: [QUOTE="Bombastus, post: 91970, member: 2178"] An abrupt cut can make an 808 click when playback stops away from the waveform’s center line and create a sudden level jump. Low bass makes the problem easy to miss visually because one cycle stretches across more time than it would in a higher sound. You usually notice it after fixing overlap. The next 808 now replaces the previous one cleanly, but the handoff leaves a tiny pop at the cut. [B][URL='https://goldmidi.com/community/resources/how-to-stop-808s-from-overlapping-in-image-lines-fl-studio.58/']Stopping overlapping 808 notes cleanly[/URL][/B] solves the voice-management problem, while declicking deals with the sharp edge left behind. A click is not proof that the sample is clipping. Lowering the channel volume may make the pop quieter, but it does not remove the discontinuity that created it. Treat the cutoff first, then check gain staging if you still hear crackling elsewhere. [HEADING=2]A tiny release can remove the hard edge[/HEADING] Open the 808’s Volume envelope and listen to what happens when Release is set to zero. The sound stops as soon as note-off reaches the envelope, which gives precise timing but can leave a hard transition when the waveform is far from zero at that instant. Raise Release by a very small amount and test again. Even a brief fade gives the waveform time to approach silence instead of jumping there in one step. Keep it short enough that the old 808 does not become an audible tail under the next note. Long release settings create a different problem. The click may disappear, but you can reintroduce the overlap you were trying to remove. A useful setting is not the smoothest fade in isolation, but the shortest release that stops the artifact without smearing the bass rhythm. The same idea sits behind [B][URL='https://patents.google.com/patent/US7363232B2/en']zero-crossing-based audio processing[/URL][/B], where edits are placed where the waveform crosses zero to reduce audible clicks. You do not need to force every 808 note ending onto a zero crossing, but the principle explains why some cut points pop while others sound clean. Pitch changes complicate the timing. When the same 808 sample plays at different notes, its waveform cycles run at different speeds, so a release that sounds invisible on one pitch can feel softer or more abrupt on another. Test the notes used in the pattern instead of tuning the envelope on one pitch and assuming every note will behave identically. [HEADING=2]FL Studio has separate declicking tools for samples[/HEADING] FL Studio’s Sampler includes declicking modes for cuts at sample boundaries and Audio Clip edits. The default Out only mode uses a short fade at the end, while Transient modes are designed to preserve the attack more aggressively. These controls help when the click comes from the audio boundary rather than from note release inside your 808 performance. Audio Clips have another route. If you sliced or trimmed an 808 directly in the Playlist, a short fade-out at the clip edge can remove the pop without changing the original WAV. Zero-crossing edits can also move the slice to the nearest crossing, although the new position may land slightly away from the exact grid point you chose. Sampler note cuts and Playlist slices are not the same operation. A Piano Roll note ending tells the instrument to release a voice. Cutting an Audio Clip changes where recorded audio begins or ends. Both can click, but the control that fixes one may do nothing to the other. Cut groups add one more FL Studio-specific option. Fast declick for cut groups changes the declick behavior used when Sampler channels stop each other abruptly. Check it when one 808 channel is choking another, and the routing works correctly, but every handoff produces the same sharp tick. [HEADING=2]Some pops come from the sample or effects instead[/HEADING] A click baked into the WAV will remain when you play the sample by itself from start to finish. Zoom into the beginning and end in Edison and inspect the waveform. A rough edit or abrupt sample boundary can make every trigger click before Cut Itself or envelope settings enter the picture. Mixer processing can create a similar distraction. Distortion, saturation, clipping, heavy limiting, and some dynamics settings can exaggerate a tiny discontinuity until it sounds much worse than the dry 808. Bypass the effects temporarily and compare the same note transition before changing the sample. Delay and reverb can survive after the source voice stops because their tails are generated downstream. A cleanly cut 808 may therefore leave an audible effect tail without the sample itself overlapping. Bypassing the Mixer insert for a test separates that behavior from a genuine note-ending click. Render a short section once the live pattern sounds clean. If the click exists in both playback and the render, isolate the dry Sampler first, then add the envelope, cut behavior, and Mixer chain back one stage at a time. The stage that brings the pop back tells you where the repair belongs. [/QUOTE]

Name