[{"data":1,"prerenderedAt":321},["ShallowReactive",2],{"tuto-\u002Ftutos\u002Fkick\u002Flayering":3,"plugin-index":162,"tutos-all":231},{"id":4,"title":5,"body":6,"daw":133,"description":134,"extension":135,"genres":136,"level":141,"meta":142,"navigation":143,"order":144,"path":145,"plugins":146,"readingTime":126,"seo":150,"sitemap":151,"stem":153,"steps":154,"tags":155,"updatedAt":152,"__hash__":161},"tutos\u002Ftutos\u002Fkick\u002Flayering.md","Layering de kick",{"type":7,"value":8,"toc":124},"minimark",[9,13,18,34,43,47,66,73,98,102,110,115,119],[10,11,12],"p",{},"Il n'y a pas une seule méthode. Les principales :",[14,15,17],"h2",{"id":16},"a-kick-tail-sub-sur-un-même-coup-méthode-hardstyle","A. Kick + tail + sub sur un même coup (méthode « hardstyle »)",[19,20,21,25,28,31],"ul",{},[22,23,24],"li",{},"Kick (click + body) court, 100–150 ms.",[22,26,27],{},"Tail distordu, passe-haut 80–100 Hz, qui prend le relais.",[22,29,30],{},"Sub en sinus propre sous le tail, passe-bas 100–120 Hz.",[22,32,33],{},"Les 3 couches sont jouées ensemble à chaque temps, puis regroupées et resamplées.",[35,36],"layering",{":layers":37,"title":38,":bpm":39,"caption":40,":noteHz":41,"noteLabel":42},"[{\"name\":\"Click\",\"start\":0,\"end\":10,\"fmin\":2000,\"fmax\":8000,\"color\":\"tape\",\"detail\":\"Le « tac » : transient très court, dans les aigus.\"},{\"name\":\"Body\",\"start\":0,\"end\":130,\"fmin\":80,\"fmax\":250,\"color\":\"warning\",\"detail\":\"L'impact : corps grave-médium, descente de pitch rapide.\"},{\"name\":\"Tail\",\"start\":40,\"end\":350,\"fmin\":[80,100],\"color\":\"uv\",\"detail\":\"La queue distordue : grain, rumble, sans grave (passe-haut 80–100 Hz).\"},{\"name\":\"Sub\",\"start\":[5,10],\"end\":350,\"fmax\":[100,120],\"color\":\"acid\",\"detail\":\"Sinus propre sous le tail, sur la note du kick (passe-bas 100–120 Hz).\"}]","Anatomie d'un kick · méthode A","155","Kick (ou punch) = click + body · kickbass = kick + tail + sub","46.2","F#1 · 46,2 Hz (F#0 dans Ableton)",[14,44,46],{"id":45},"b-alternance-kick-tail-sub-méthode-utilisée-dans-mon-projet","B. Alternance kick \u002F tail + sub (méthode utilisée dans mon projet)",[19,48,49,60],{},[22,50,51,55,56,59],{},[52,53,54],"strong",{},"Temps 1 :"," le kick de Kick 3 qui ",[52,57,58],{},"porte lui-même sa basse"," (pas de sub séparée).",[22,61,62,65],{},[52,63,64],{},"Temps 2 :"," le tail + la sub (Operator).",[35,67],{":layers":68,"title":69,":bpm":39,"caption":70,"view":71,":beats":72},"[{\"name\":\"Kick\",\"beat\":1,\"start\":0,\"end\":[320,350],\"color\":\"warning\",\"detail\":\"Kick 3, porte lui-même sa basse (pas de sub séparée).\"},{\"name\":\"Tail\",\"beat\":2,\"start\":0,\"end\":350,\"color\":\"uv\",\"detail\":\"Le grain, sans grave.\"},{\"name\":\"Sub\",\"beat\":2,\"start\":[5,10],\"end\":350,\"color\":\"acid\",\"detail\":\"Operator, sinus propre.\"}]","Méthode B · alternance sur deux temps","même note sur les deux temps · tail et sub de même durée (la note MIDI)","time","2",[74,75,78],"callout",{"title":76,"type":77},"Points critiques","piege",[19,79,80,91],{},[22,81,82,83,86,87,90],{},"La fin du kick et la sub doivent être sur ",[52,84,85],{},"la même note"," et à un ",[52,88,89],{},"niveau de grave proche"," (vérifier au Spectrum : les deux pics doivent être au même niveau), sinon le bas « saute » d'un temps à l'autre.",[22,92,93,94,97],{},"Comme le kick contient le grave, garder sa ",[52,95,96],{},"bande basse propre"," (distorsion multibande avec coupure vers 100 Hz, ou traitement parallèle avec passe-haut sur la chaîne d'effets).",[14,99,101],{"id":100},"c-kick-unique-avec-traitement-parallèle","C. Kick unique avec traitement parallèle",[19,103,104,107],{},[22,105,106],{},"Le kick reste propre sur une chaîne « Dry », les effets sont sur une chaîne « FX » en parallèle.",[22,108,109],{},"Permet d'automatiser les effets sans perdre l'impact ni le grave.",[35,111],{":layers":112,"title":113,"view":114},"[{\"name\":\"Dry\",\"color\":\"paper\",\"detail\":\"Le kick intact, chaîne vide : tout le grave vient d'ici.\"},{\"name\":\"FX\",\"fmin\":[120,150],\"color\":\"uv\",\"detail\":\"Les effets, passe-haut 120–150 Hz en fin de chaîne FX.\"}]","Méthode C · chaînes dry et fx en parallèle","freq",[14,116,118],{"id":117},"d-kickbass-en-un-seul-sample","D. Kickbass en un seul sample",[19,120,121],{},[22,122,123],{},"Une fois les couches réglées (A, B ou C), on regroupe tout et on bounce en un seul sample. Une seule piste à gérer dans la prod.",{"title":125,"searchDepth":126,"depth":126,"links":127},"",3,[128,130,131,132],{"id":16,"depth":129,"text":17},2,{"id":45,"depth":129,"text":46},{"id":100,"depth":129,"text":101},{"id":117,"depth":129,"text":118},"ableton","Kick + tail + sub sur un même coup, alternance kick \u002F tail + sub, traitement parallèle, kickbass en un seul sample : les 4 méthodes de layering d'un kick mentalcore.","md",[137,138,139,140],"mentalcore","tekno","hardstyle","tekrap","inter",{},true,1,"\u002Ftutos\u002Fkick\u002Flayering",[147,148,149],"\u002Fplugins\u002Fkick-3","\u002Fplugins\u002Foperator","\u002Fplugins\u002Fspectrum",{"title":5,"description":134},{"loc":145,"lastmod":152},"2026-10-14","tutos\u002Fkick\u002Flayering",[24,27,30,33],[156,35,157,158,159,160],"kick","tail","sub","kickbass","traitement 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Saturate",{"name":204,"path":148,"aliases":205},"Operator",[],{"name":207,"path":208,"aliases":209},"OTT","\u002Fplugins\u002Fott",[],{"name":211,"path":212,"aliases":213},"Serum 2","\u002Fplugins\u002Fserum-2",[],{"name":215,"path":216,"aliases":217},"SerumFX","\u002Fplugins\u002Fserumfx",[218],"distorsion de Serum",{"name":220,"path":221,"aliases":222},"ShaperBox 3","\u002Fplugins\u002Fshaperbox-3",[223],"ShaperBox",{"name":225,"path":149,"aliases":226},"Spectrum",[],{"name":228,"path":229,"aliases":230},"Utility","\u002Fplugins\u002Futility",[],[232,243,256,264,277,286,297,307,310],{"path":233,"title":234,"description":235,"order":129,"tags":236,"genres":240,"daw":241,"level":242,"updatedAt":152,"readingTime":144},"\u002Ftutos\u002Fbases\u002Fdurees-et-tempo","Durées et tempo du kick","Durée d'un temps à 150 et 155 BPM, longueur du kickbass (320–350 ms à 155 BPM) et repères de placement du click, du body, du tail et de la sub.",[237,238,156,159,239],"tempo","bpm","durées",[137,138,140],"any","débutant",{"path":244,"title":245,"description":246,"order":126,"tags":247,"genres":253,"daw":241,"level":242,"updatedAt":255,"readingTime":144},"\u002Ftutos\u002Fbases\u002Freflexes-generaux","Réflexes généraux de prod","Les 4 réflexes à garder en tête : comparer à volume égal, grave mono, vérifier au Spectrum, morceau de référence dans le projet.",[248,249,250,251,252],"mix","volume égal","mono","spectrum","référence",[138,137,140,254,139],"hard-tekno","2026-10-13",{"path":257,"title":258,"description":259,"order":144,"tags":260,"genres":263,"daw":241,"level":242,"updatedAt":255,"readingTime":144},"\u002Ftutos\u002Fbases\u002Fvocabulaire-du-kick","Vocabulaire du kick","Click, body, tail, sub, kickbass, rumble : les mots du kick tekno et mentalcore, et la règle de base sur la distorsion et le grave.",[156,157,158,261,262],"rumble","distorsion",[138,137,139],{"path":265,"title":266,"description":267,"order":144,"tags":268,"genres":276,"daw":241,"level":141,"updatedAt":255,"readingTime":144},"\u002Ftutos\u002Fdrums\u002Fdrums-rap-tekno-150-bpm","Drums rap à 150 BPM","Groove half-time à 75 BPM, snare sur le temps 3, rolls de hi-hats, 808 en break : intégrer des drums trap \u002F drill dans une prod tekrap à 150 BPM.",[269,270,271,272,273,274,275],"drums","drill","trap","hi-hats","808","snare","half-time",[140,138,137],{"path":278,"title":279,"description":280,"order":126,"tags":281,"genres":285,"daw":133,"level":141,"updatedAt":255,"readingTime":129},"\u002Ftutos\u002Fkick\u002Faccorder-son-kick","Notes et accordage du kick","Quelle note pour un kick mentalcore (zone F#1 à A1, 46–55 Hz), le piège du nommage des octaves dans Ableton, et comment choisir une note consonante.",[282,283,284,156,158,251],"accordage","note","fréquence",[137,138,254,139],{"path":287,"title":288,"description":289,"order":290,"tags":291,"genres":295,"daw":133,"level":296,"updatedAt":255,"readingTime":129},"\u002Ftutos\u002Fkick\u002Fchaines-de-traitement-kick-tail","Chaînes de traitement du kick","Les chaînes d'effets dans l'ordre : kick (Disperser, distorsion, clipper, Punctuate, Pro-Q 4), tail (reverb, Multipass, OTT, grain), bus tail + sub, et les règles d'ordre des effets.",4,[292,156,157,158,262,293,261,294],"chaîne d'effets","clipper","shaperbox",[137,138,254,139],"avancé",{"path":298,"title":299,"description":300,"order":129,"tags":301,"genres":306,"daw":241,"level":141,"updatedAt":152,"readingTime":144},"\u002Ftutos\u002Fkick\u002Fkick-mentalcore","Faire un kick mentalcore","Kick 3, Kick 2 ou ton synthé de kick : couches, enveloppe de pitch, longueur, limiteur interne coupé, puis rendre le kick court, sec et agressif.",[156,302,303,304,293,261,305],"synthèse","kick 3","enveloppe de pitch","sound design",[137,138,254],{"path":145,"title":5,"description":134,"order":144,"tags":308,"genres":309,"daw":133,"level":141,"updatedAt":152,"readingTime":126},[156,35,157,158,159,160],[137,138,139,140],{"path":311,"title":312,"description":313,"order":144,"tags":314,"genres":320,"daw":133,"level":141,"updatedAt":255,"readingTime":129},"\u002Ftutos\u002Fsub\u002Fsub-operator-ableton","Faire la sub dans Operator","Sub en sinus propre dans Operator : oscillateur A seul, enveloppe, passe-bas 24 dB à 100–120 Hz, le piège Freq\u003CKey, puis caler la phase de la sub avec le tail et le kick.",[158,315,316,317,318,319],"operator","sinus","phase","filtre","utility",[137,138,139,140],1792007220205]