[{"data":1,"prerenderedAt":487},["ShallowReactive",2],{"tuto-\u002Ftutos\u002Fkick\u002Fphase-des-couches":3,"plugin-index":331,"tutos-all":356},{"id":4,"title":5,"body":6,"daw":297,"description":298,"extension":299,"genres":300,"level":306,"meta":307,"navigation":308,"order":288,"path":309,"plugins":310,"readingTime":285,"seo":311,"sitemap":312,"stem":314,"steps":315,"tags":322,"updatedAt":313,"__hash__":330},"tutos\u002Ftutos\u002Fkick\u002Fphase-des-couches.md","Mettre les couches en phase",{"type":7,"value":8,"toc":283},"minimark",[9,14,27,34,38,98,102,146,150,155,169,173,176,195,201,205,227,231,237,259,273],[10,11,13],"h2",{"id":12},"pourquoi-ça-compte","Pourquoi ça compte",[15,16,17,18,22,23,26],"p",{},"Deux couches qui jouent la ",[19,20,21],"strong",{},"même note"," dans le grave s'additionnent si leurs ondes montent et descendent ensemble, et ",[19,24,25],{},"s'annulent"," si l'une monte quand l'autre descend. Entre les deux, tout est possible : un grave un peu plus mince, ou un trou net à un moment du kick.",[15,28,29,30,33],{},"Dans un kick, ça se joue surtout dans le ",[19,31,32],{},"grave"," : au-dessus de quelques centaines de Hz, les ondes sont trop courtes et trop distordues pour s'annuler franchement.",[10,35,37],{"id":36},"les-zones-à-risque","Les zones à risque",[39,40,41,54],"table",{},[42,43,44],"thead",{},[45,46,47,51],"tr",{},[48,49,50],"th",{},"Où",[48,52,53],{},"Pourquoi",[55,56,57,68,78,88],"tbody",{},[45,58,59,65],{},[60,61,62],"td",{},[19,63,64],{},"Jonction punch → tails",[60,66,67],{},"Le grave du punch et celui des tails se chevauchent pendant quelques ms",[45,69,70,75],{},[60,71,72],{},[19,73,74],{},"Deux tails qui portent de la sub",[60,76,77],{},"Deux sub sur la même note, rarement alignées",[45,79,80,85],{},[60,81,82],{},[19,83,84],{},"Kick + sub séparée",[60,86,87],{},"La sub démarre pendant que le body du kick descend encore",[45,89,90,95],{},[60,91,92],{},[19,93,94],{},"Après un traitement",[60,96,97],{},"Disperser, EQ en phase linéaire ou minimale, distorsion multibande : ils déplacent la phase",[10,99,101],{"id":100},"écouter-et-mesurer","Écouter et mesurer",[103,104,105,117,132,139],"ol",{},[106,107,108,109,112,113,116],"li",{},"Grave en ",[19,110,111],{},"mono"," : ",[19,114,115],{},"Utility"," (Bass Mono) sur le groupe, le grave d'un kick est en mono de toute façon.",[106,118,119,120,123,124,127,128,131],{},"Mets un ",[19,121,122],{},"Spectrum"," (ou ",[19,125,126],{},"SPAN",") sur le groupe et regarde le ",[19,129,130],{},"pic de la note",".",[106,133,134,135,138],{},"Coupe une couche, puis remets-la : avec les deux, le pic doit ",[19,136,137],{},"monter",". S'il baisse ou reste pareil, les couches se battent.",[106,140,141,142,145],{},"Pour voir les ondes : ",[19,143,144],{},"PsyScope"," sur le groupe, ou bounce les couches et zoome dans l'arrangement à la jonction.",[10,147,149],{"id":148},"les-corrections-de-la-plus-simple-à-la-plus-fine","Les corrections, de la plus simple à la plus fine",[151,152,154],"h3",{"id":153},"_1-phase-invert","1. Phase Invert",[15,156,157,158,160,161,164,165,168],{},"Sur une des deux couches (les tails, par exemple) : ",[19,159,115],{},", bouton ",[19,162,163],{},"Ø L"," et ",[19,166,167],{},"Ø R"," (inverser la phase des deux canaux). Écoute le grave et regarde le Spectrum : garde la position où le grave est le plus plein.",[151,170,172],{"id":171},"_2-décaler-de-quelques-ms","2. Décaler de quelques ms",[15,174,175],{},"Si aucune des deux positions n'est bonne, décale la couche :",[177,178,179,182,189],"ul",{},[106,180,181],{},"clip audio : décale-le de quelques ms dans l'arrangement (grille désactivée) ;",[106,183,184,185,188],{},"sample dans Simpler \u002F Sampler : avance le ",[19,186,187],{},"Start"," ;",[106,190,191,194],{},[19,192,193],{},"Track Delay"," d'Ableton sur la piste (en ms, positif ou négatif).",[15,196,197,198,131],{},"Cherche le réglage où, à la jonction, les cycles des deux couches ",[19,199,200],{},"montent dans le même sens",[151,202,204],{"id":203},"_3-la-phase-de-départ","3. La phase de départ",[177,206,207,217],{},[106,208,209,212,213,216],{},[19,210,211],{},"Kick 3"," : chaque couche a un réglage ",[19,214,215],{},"Phase"," (0° par défaut). Tourne-le sur la couche qui chevauche l'autre jusqu'à ce que la jonction se raccorde proprement.",[106,218,219,222,223,226],{},[19,220,221],{},"Operator"," (sub) : garde le ",[19,224,225],{},"R"," (retrigger) activé sur l'oscillateur, pour que la sinusoïde reparte toujours au même endroit à chaque coup.",[151,228,230],{"id":229},"_4-une-seule-source-de-sub","4. Une seule source de sub",[15,232,233,234,131],{},"Le plus fiable : à un instant donné, ",[19,235,236],{},"une seule couche porte la sub",[177,238,239,246],{},[106,240,241,242,245],{},"Deux tails avec de la sub : passe-haut vers ",[19,243,244],{},"100–150 Hz"," sur l'une des deux.",[106,247,248,249,252,253,258],{},"Punch + tails : ",[19,250,251],{},"Pro-Q 4"," dynamique sur le grave des tails, déclenché par le punch (voir ",[254,255,257],"a",{"href":256},"\u002Ftutos\u002Fkick\u002Ffaire-un-kick","faire un kick",").",[260,261,264],"callout",{"title":262,"type":263},"Revérifier après chaque traitement","piege",[15,265,266,269,270,272],{},[19,267,268],{},"Disperser",", un EQ en phase linéaire, une distorsion multibande ou un changement de mode de ",[19,271,251],{}," déplacent la phase. Une jonction parfaite avant le traitement peut se creuser après : revérifie au Spectrum dès que tu touches à la chaîne d'une couche.",[260,274,277],{"title":275,"type":276},"Comparer à volume égal","astuce",[15,278,279,280,282],{},"Inverser la phase d'une couche change aussi le volume du grave : juge au ",[19,281,122],{}," et à volume égal, pas seulement à l'oreille.",{"title":284,"searchDepth":285,"depth":285,"links":286},"",3,[287,289,290,291],{"id":12,"depth":288,"text":13},2,{"id":36,"depth":288,"text":37},{"id":100,"depth":288,"text":101},{"id":148,"depth":288,"text":149,"children":292},[293,294,295,296],{"id":153,"depth":285,"text":154},{"id":171,"depth":285,"text":172},{"id":203,"depth":285,"text":204},{"id":229,"depth":285,"text":230},"ableton","Pourquoi deux couches de kick s'annulent dans le grave, et comment les mettre en phase : Phase Invert, décalage de quelques ms, phase de départ dans Kick 3, une seule source de sub, et vérifier au Spectrum.","md",[301,302,303,304,305],"mentalcore","tekno","hard-tekno","hardstyle","tekrap","inter",{},true,"\u002Ftutos\u002Fkick\u002Fphase-des-couches",[],{"title":5,"description":298},{"loc":309,"lastmod":313},"2026-10-23","tutos\u002Fkick\u002Fphase-des-couches",[316,317,318,319,320,321],"Repérer les zones à risque : jonction punch → tails, deux tails qui portent de la sub, kick + sub.","Écouter le grave en mono et regarder le pic de la note au Spectrum.","Essayer Phase Invert (Utility) sur une des deux couches : garder la position où le grave gonfle.","Sinon, décaler la couche de quelques ms ou régler sa phase de départ.","Garder une seule source de sub quand c'est possible.","Revérifier après chaque traitement qui touche à la phase.",[323,324,325,326,327,328,329],"kick","phase","layering","sub","tail","punch","polarité","NeIfoW7inS1x9hrJl-RjsPBtzGyMX-IyfZ5i4tAn83A",[332,338,343,348],{"name":333,"path":334,"aliases":335},"bx_console SSL 4000 G","\u002Fplugins\u002Fbx-console-ssl-4000-g",[336,333,337],"SSL 4000 G","SSL 4000",{"name":339,"path":340,"aliases":341},"Elevate","\u002Fplugins\u002Fnewfangled-elevate",[342],"Newfangled Elevate",{"name":344,"path":345,"aliases":346},"Punctuate","\u002Fplugins\u002Fnewfangled-punctuate",[347],"Newfangled Punctuate",{"name":349,"path":350,"aliases":351},"Shadow Hills Mastering Compressor Class A","\u002Fplugins\u002Fshadow-hills-class-a",[352,353,354,355],"Shadow Hills","Shadow Hills A","Shadow Hills Class A","Shadow Hills Class A Mastering Comp",[357,371,382,391,404,413,424,433,443,446,460,470,477],{"path":358,"title":359,"description":360,"order":288,"tags":361,"genres":366,"daw":367,"level":368,"updatedAt":369,"readingTime":370},"\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.",[362,363,323,364,365],"tempo","bpm","kickbass","durées",[301,302,305],"any","débutant","2026-10-14",1,{"path":372,"title":373,"description":374,"order":285,"tags":375,"genres":380,"daw":367,"level":368,"updatedAt":381,"readingTime":370},"\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.",[376,377,111,378,379],"mix","volume égal","spectrum","référence",[302,301,305,303,304],"2026-10-13",{"path":383,"title":384,"description":385,"order":370,"tags":386,"genres":389,"daw":367,"level":368,"updatedAt":390,"readingTime":370},"\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.",[323,327,326,387,388],"rumble","distorsion",[302,301,304],"2026-10-19",{"path":392,"title":393,"description":394,"order":370,"tags":395,"genres":403,"daw":367,"level":306,"updatedAt":381,"readingTime":370},"\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.",[396,397,398,399,400,401,402],"drums","drill","trap","hi-hats","808","snare","half-time",[305,302,301],{"path":405,"title":406,"description":407,"order":285,"tags":408,"genres":412,"daw":297,"level":306,"updatedAt":381,"readingTime":288},"\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.",[409,410,411,323,326,378],"accordage","note","fréquence",[301,302,303,304],{"path":414,"title":415,"description":416,"order":417,"tags":418,"genres":422,"daw":297,"level":423,"updatedAt":381,"readingTime":288},"\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,[419,323,327,326,388,420,387,421],"chaîne d'effets","clipper","shaperbox",[301,302,303,304],"avancé",{"path":256,"title":425,"description":426,"order":370,"tags":427,"genres":431,"daw":297,"level":306,"updatedAt":313,"readingTime":432},"Faire un kick, du layering au mixage","Attaque, punch, tails qui portent la sub : construire un kick tekno \u002F mentalcore couche par couche, les accorder, les faire passer la main, les mettre en phase, puis les coller sur le groupe sans perdre le grave.",[323,325,328,327,326,364,428,429,420,430],"mixage","glue","sidechain",[301,302,303,304,305],5,{"path":434,"title":435,"description":436,"order":288,"tags":437,"genres":442,"daw":367,"level":306,"updatedAt":369,"readingTime":370},"\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.",[323,438,439,440,420,387,441],"synthèse","kick 3","enveloppe de pitch","sound design",[301,302,303],{"path":309,"title":5,"description":298,"order":288,"tags":444,"genres":445,"daw":297,"level":306,"updatedAt":313,"readingTime":285},[323,324,325,326,327,328,329],[301,302,303,304,305],{"path":447,"title":448,"description":449,"order":370,"tags":450,"genres":458,"daw":297,"level":306,"updatedAt":459,"readingTime":417},"\u002Ftutos\u002Fmastering\u002Fchaine-master","La chaîne du master","Le master d'une prod tekno en 5 modules : compression + mono, corrections et couleur si besoin, clip + limite avec Elevate, puis les mesures.",[451,452,419,453,454,455,456,457],"mastering","master","limiteur","compression","elevate","shadow hills","gain staging",[302,301,303],"2026-10-22",{"path":461,"title":462,"description":463,"order":288,"tags":464,"genres":469,"daw":297,"level":306,"updatedAt":459,"readingTime":288},"\u002Ftutos\u002Fmixage\u002Fles-bus","Ce qui va sur chaque bus","Les plugins de chaque bus d'une prod tekno : kick bus, bus sans kick, drums, mélodies et vocal, avec les fréquences et les quantités de départ.",[465,466,430,467,468,428],"bus","kick bus","saturation","console",[302,301,303],{"path":471,"title":472,"description":473,"order":370,"tags":474,"genres":476,"daw":297,"level":306,"updatedAt":390,"readingTime":370},"\u002Ftutos\u002Fmixage\u002Froutage-deux-bus","Deux bus, un master","Le routage de base d'une prod tekno : un bus pour le kick, un bus pour tout le reste, qui se creuse dans le grave seulement quand le kick tape.",[475,465,430,466,428],"routage",[302,301,303],{"path":478,"title":479,"description":480,"order":370,"tags":481,"genres":486,"daw":297,"level":306,"updatedAt":381,"readingTime":288},"\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.",[326,482,483,324,484,485],"operator","sinus","filtre","utility",[301,302,304,305],1792764687073]