The Art Of Panning: Hihat Placement In Mixes

Panning is a technique used in music mixing to create a stereo image, allowing engineers to tell stories, build tension, and create contrast and balance. There are two common perspectives when it comes to panning drums: the drummer's perspective and the listener's perspective. The hi-hat, in particular, can be panned to the left, right, or center depending on the desired effect and the perspective chosen. Some engineers prefer to pan the hi-hat to the left, following the drummer's perspective, while others may pan it to the right or center based on the listener's perspective or artistic choice. Ultimately, there is no industry standard, and the decision to pan the hi-hat comes down to personal preference and the specific mix.

Panning hi-hats to the left

Another reason to pan hi-hats to the left is to create a sense of stereo width and depth in the mix. Our ears tend to focus on signals that are panned to the extreme left or right, so placing the hi-hats on one side can make the mix sound wider and more spacious. This is especially effective when combined with other elements, such as percussion or effects, panned to the opposite side.

Additionally, panning hi-hats to the left can be done to match the drummer's perspective. This means that the stereo image of the drums in the mix matches the orientation of the drum kit as seen from the drummer's point of view. This can provide a more immersive listening experience and make intuitive sense given the up-front sonic perspective of the main instruments in modern mixes. It also ensures that anyone playing along with the recording on their own drum kit won't have to deal with a conflicting stereo image.

It's important to note that there is no single correct way to pan hi-hats, and both left and right panning are common practices. The choice ultimately depends on the specific mix, the genre of music, and the engineer's artistic preferences. Some engineers might choose to pan hi-hats to the right to match the audience perspective, as this is how the kit would be seen at a live concert. Others might opt for a more narrow panning scheme for the drums, especially if they want to make other instruments sound wider in comparison.

When panning hi-hats, it's also worth considering the frequency content of the hats and other instruments in the mix. Panning is a useful tool for creating space between elements that occupy the same frequency range. For example, if you have a hi-hat and a tambourine that are fighting for room in the mix, panning them to opposite sides can help to separate them and give each instrument more clarity.

Panning hi-hats to the right

Listener's Perspective vs Drummer's Perspective:

When panning hi-hats, you can choose between the listener's perspective and the drummer's perspective. The listener's perspective involves placing the hi-hat on the right, as if the listener is watching a drummer perform on stage. On the other hand, the drummer's perspective involves placing the hi-hat on the left, as if the listener is sitting behind the drum kit. There is no industry standard, and both approaches are commonly used.

• Creating Separation:
• Frequency-Based Panning:

When panning hi-hats, consider the frequency content of other instruments in your mix. Hi-hats tend to have high-frequency information. By panning them to the right, you can create contrast with other high-frequency instruments, such as electric guitars or Rhodes pianos, by placing them on the opposite side. This technique helps to avoid masking and ensures that each instrument can be heard clearly.

Hard Panning vs Soft Panning:

Hard panning refers to placing an instrument completely to one side, either 90% or 100% left or right. While this can create a sense of width and space in your mix, it should be used sparingly. For hi-hats, you might consider soft panning, which is panning them slightly to the right, leaving some space for other elements in the centre. This can help maintain a balanced and cohesive mix.

Mono Compatibility:

While panning hi-hats to the right can create a wide and immersive stereo image, it's important to periodically check your mix in mono to ensure compatibility. Some club systems and older playback systems may still use mono, so you want to make sure your mix translates well and doesn't lose important elements.

Automating Panning:

If static panning doesn't work for certain parts of your song, you can try automating the panning of the hi-hats. This involves changing the panning position over time, allowing for more dynamic and creative mixes. For example, you can pan the hi-hats to the right during the verse and then bring them back to the centre during the chorus.

Panning hi-hats to the centre

The "player's perspective" is another panning approach, where the stereo image of the drums is presented from the performer's viewpoint. This method may provide a more immersive listening experience and is consistent with the up-front sonic perspective of primary instruments in modern mixes. Additionally, if a fan wants to play along with the recording on their drum kit, an audience-perspective panning will seem incorrect.

Ultimately, the decision to pan hi-hats to the centre or either side is a matter of artistic choice and personal preference. There are no strict rules, and engineers should use their judgement to create the desired effect.

It's worth noting that low-frequency instruments, such as the kick drum, snare, and bass guitar, are typically placed in the centre of the panorama. This is because low frequencies are omnidirectional, meaning their specific location is difficult to pinpoint. Panning hi-hats to the centre can help create a balanced mix, especially when combined with other instruments occupying similar frequencies.

To summarise, panning hi-hats to the centre can be an effective technique in music mixing, depending on the desired sound and feel of the song. It is crucial to consider the perspective of the listener and the overall balance of the mix when making panning decisions.

Panning hi-hats in electronic music

Panning hi-hats is an essential aspect of mixing in electronic music, and there are various techniques and considerations to achieve the desired stereo image and sound.

Panning Techniques

One common approach is to pan hi-hats to the sides, typically between 20 to 65% away from the centre, to create a sense of movement and make the mix feel wider and more rhythmic. This technique is often used in hip-hop and electronic genres. Some producers even hard pan hi-hats to the left or right to emphasise the stereo effect. However, it is crucial to maintain balance in the mix by placing complementary sounds on the opposite side to avoid an overly crowded mix.

Another technique is to create a duplicate track and pan one track left and the other right, adding depth and a sense of space to the percussion. This approach can be enhanced by panning the dry signal of the percussion slightly off to one side and leaving the reverb centred or slightly to the opposite side.

For dance and trance music, a recommended technique is to pan closed hi-hats to one side and open hi-hats to the other, usually not exceeding 20-30% pan. This adds movement and spread to the percussion. Additionally, a shaker or another closed hi-hat can be added to the opposite side for balance.

For a more complex and dynamic sound, you can alternate panning multiple hi-hat layers left and right, creating a sense of serious movement in the stereo field. This technique is exemplified by Aphex Twin's "Collapse EP".

Considerations

When panning hi-hats, it is essential to visualise the drum kit as if a band/group were playing in front of you. This helps determine the placement of each instrument in the stereo field. For example, the kick drum, snare, and bass are typically kept centred, while hi-hats and other percussion are panned to the sides.

It is crucial to be mindful of mono compatibility when panning. Excessive panning can cause issues when the track is played back in mono, potentially resulting in the loss of certain sounds. Therefore, it is recommended to check the mix by listening to one channel or moving your head close to one monitor to ensure the song translates well to mono systems, such as club PA systems.

Additionally, when working with multiple hi-hat layers, it is important to manage the high frequencies produced to avoid a sharp and harsh sound. Removing low frequencies and applying a high-pass filter can help achieve a cleaner and more natural brightness in the drum kit.

In conclusion, panning hi-hats in electronic music offers a range of creative possibilities to enhance the stereo image and add movement and interest to the mix. By combining different panning techniques and considering the overall balance and mono compatibility, producers can create dynamic and engaging percussion sections in their electronic music productions.

Panning hi-hats in acoustic music

Panning Techniques for Acoustic Music

• Consider the drummer's perspective: One approach is to pan the hi-hat based on the physical location of the hi-hat in a drum kit. This means placing the hi-hat on the right of the stereo image, as this is where it would be from the drummer's perspective. This technique is often used for acoustic drums to create a more natural-sounding mix.
• Create a wider stereo image: By panning the hi-hat to one side, you can make the mix sound wider and more spacious. This technique is common in hip-hop and electronic music, where hi-hats are often panned 30-50% away from the centre. However, be mindful of other instruments in the mix and try to create a balanced stereo image.
• Use complementary panning: If you have multiple hi-hat tracks or other instruments in similar frequency ranges, try panning them to opposite sides. For example, pan one hi-hat track 20% to the left and another 20% to the right. This will help create a sense of balance and avoid cluttering one side of the stereo field.
• Hard panning: In some cases, you may want to hard pan the hi-hats, especially if you're going for an extreme effect. Hard panning means placing the sound entirely on one side, either left or right. This can be an interesting creative choice but use it sparingly as it can be disorienting for listeners.
• Experiment with different panning positions: There is no one-size-fits-all rule for panning hi-hats. Feel free to experiment with different panning positions to see what works best for your mix. Try panning the hi-hats slightly off-centre or using automation to create movement in the stereo field.

Additional Mixing Tips for Acoustic Hi-Hats

• Manage high frequencies: Hi-hats occupy the top end of the frequency spectrum, so be careful not to overload the mix with harsh high-end information. Use EQ to manage these frequencies and consider using a de-esser to tame excessive sibilance.
• Remove low frequencies: Before applying EQ to the hi-hats, remove any low frequencies that may have been captured during the recording process. This will ensure the natural brightness of the drums comes through, and you won't feel the need to boost the highs excessively later on.
• Be mindful of processing: Hi-hats are sensitive to processing due to their narrow frequency range. It's easy to go overboard with saturation, EQ, and compression, so work with good-quality recordings and take frequent breaks to keep your ears fresh.
• Use transient shaping: Transient shaping plugins can add flair or clarity to your hi-hats. Increase the attack for more presence in the mix, or reduce it to tame hard transients. You can also use transient shaping to adjust the length of the hi-hat sounds.
• Layer and add effects: Layering multiple hi-hat tracks and adding effects like reverb or saturation can create a fuller, more exciting sound. Try programming a white noise sample to match the rhythm of the hi-hats to fill out the spectrum and add high-end detail.

Remember, these are just guidelines, and there are no hard and fast rules in mixing. Trust your ears and feel free to experiment to find the panning and mixing techniques that work best for your acoustic music.

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