Marianne Martinez
Panning is a crucial method for saving time, energy, and computer resources when dealing with large projects in audio production. It allows users to treat groups of signals as one, applying audio effects to multiple tracks simultaneously. However, panning in programs like Logic Pro has caused some issues for users, who have found that panning is entirely controlled by the bus, resulting in a loss of individual track panning. To resolve this, users have suggested creating a new bus, ensuring the Logic native pan knob is centred, and using the Direction Mixer plugin.
| Characteristics | Values |
|---|---|
| Panning a normal track | Straightforward |
| Panning individual tracks within a track stack | Confusing |
| Pre Fader | Sends audio signal to the bus before any fader or panning adjustments are made to the original track |
| Post Fader | Sends audio signal to the bus after the fader and pan knob |
| Post Pan | Sends signal after the fader and pan knob, so the send signal is affected by the channel strip volume fader and pan adjustments |
| Assign button | Used to assign a channel to a bus, which will follow the channel's pan setting |
| Surround mixing | Does not reflect the instrument's stereo position |
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What You'll Learn
Panning stereo tracks
When panning stereo tracks, it is important to create contrast between stereo and mono sounds to create a sense of width in the production. This means that if you have a couple of really wide stereo synths, they will sound wider in comparison to mono sounds.
To achieve this contrast, you can use stereo pan pots, which allow you to put the stereo image where you like and narrow it if necessary. You can also use plugins like Stereo Tool to control the width of your stereo tracks.
Additionally, when panning stereo tracks, you can play with the width and positioning of the sounds. For example, you can pan a stereo track all the way to the side but leave a little width, which will sound less "extreme" than hard-panning mono sounds.
When dealing with stereo tracks that have mono effects like delay and reverb, you can route the mono track with the effects to the same bus as the stereo track. This allows you to change the level of the effects without reamping.
By understanding these techniques and settings, you can achieve more precise control over the stereo imaging and overall balance of your mix.
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Panning mono tracks
When panning a mono track, it is important to consider the impact on the overall mix. Panning a mono track off-centre can reduce its level in the mono balance, causing it to lose presence compared to central elements such as bass, kick, snare, and lead vocals. To address this, it is recommended to not pan mono sources beyond 85% to either side, as it maintains balance and reduces dislocation in headphones. Additionally, contrasting mono and stereo elements is crucial to creating a sense of width. Having a majority of mono tracks with a few wide stereo synths will make the stereo elements stand out and create a more immersive soundscape.
To achieve panning with a mono track, there are several techniques available. One method involves duplicating the mono track and panning one copy to the left and the other to the right, creating a stereo image. However, this approach can introduce phase issues and may not provide the desired stereo effect. Another technique is to utilise a stereo plugin that emulates panning by manipulating the volume of the signal in each channel, allowing for precise control over the stereo positioning.
It is worth noting that panning a mono track does not inherently change its monophonic nature. The signal remains mono as long as the phase is the same on both speakers. However, by panning, the volume of the signal may be adjusted to maintain balance, especially when using the "pan-law" feature in a DAW. Additionally, it is important to compare your mix against commercial productions in mono to ensure compatibility and avoid phase-cancellation issues, which can be identified using a stereo vectorscope display.
In summary, panning mono tracks involves creating the perception of width and depth by distributing the mono signal across a stereo field. It requires careful consideration of balance, contrast, and spatial positioning to achieve the desired stereo image. By utilising techniques such as duplication, stereo plugins, and volume adjustments, engineers can manipulate mono sources to create immersive and captivating audio experiences.
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Pre Fader and Post Fader
On the other hand, the Pre Fader setting sends the audio signal to the bus before any fader or panning adjustments are made to the original track. This means that the amount of signal sent to the reverb bus is independent of the fader. As a result, the reverb will feel somewhat divorced from the source signal as its volume will not move with the source. This can be useful if you want the reverb to behave differently than the source signal.
For example, if you wanted to create an effect where a vocal track is pulled in from a different world outside the mix, you could set the reverb bus to Pre Fader. By dialling the aux to unity and pulling the fader all the way down, you would only hear the vocal through the reverb with no dry signal. You can then bring the vocal into focus by pushing the vocal track up while pulling the reverb return down.
Pre Fader is also useful when creating parallel effects or when a consistent signal level is required, such as in headphone mixes. It allows for more precise control over the stereo imaging and overall balance of the mix.
It is important to note that the choice between Pre Fader and Post Fader depends on the creative and technical requirements of the project. Understanding these panning settings enables informed decisions about how to route and process audio tracks.
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Post Pan setting
The Post Pan setting is one of the three panning settings offered by Logic for buses, the other two being Post Fader and Pre Fader. It allows users to treat groups of signals as one, applying audio effects to multiple tracks simultaneously. This setting sends the audio signal to the bus after the fader and pan knob adjustments, meaning that the send signal will be affected by both the channel strip volume fader and pan adjustments.
For example, if you have a guitar track panned hard left and send it to a reverb bus on Post Pan, the reverb will also be positioned hard left in the stereo field. This is useful when you want your effects to follow the panning of the original track, creating a cohesive and natural-sounding stereo image.
However, it is important to note that sends are Post Pan by default in Logic, and if you are using pre-panned instruments, you may want to leave the panning in the centre position. In this case, you can send the signal to an empty aux for panning only and then output this aux to the reverb.
Understanding these panning settings will allow you to make informed decisions about how to route and process your audio tracks in Logic, giving you more flexibility with your effects placement in the stereo field.
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Bus Sends
To address this issue, users have suggested several solutions. One approach involves creating a new bus and ensuring that the Logic native pan knob is centred. Additionally, employing the Direction Mixer plugin can help rectify the problem. Understanding the different panning settings, such as Post Pan, Post Fader, and Pre Fader, is essential for effective bus sends.
Post Pan sends the signal after the fader and pan knob adjustments, allowing the channel strip volume fader and pan settings to influence the send signal. This is useful when you want the effects to follow the panning of the original track, creating a cohesive stereo image. On the other hand, Pre Fader sends the signal before any fader or panning adjustments, providing complete separation between the bus signal and the original track. This setting is advantageous when creating parallel effects or maintaining a consistent signal level.
Another technique to overcome panning issues with bus sends is to duplicate the reverb channel and create separate hard-panned ReverbR and ReverbL channels. This prevents the vocals from becoming increasingly centred. Additionally, it is important to note that sends are Post Pan by default in Logic, and they will reflect the panning position of the channel. However, if using pre-panned instruments, you may need to send the signal to an empty aux for panning and then output it to the reverb.
Furthermore, when dealing with stereo tracks and bus tracks, it is recommended to pan each instrument before it joins the bus group and keep the bus signal down the centre. This simplifies the process and ensures that the panning is applied correctly. By utilising these techniques and settings, users can achieve more precise control over the stereo imaging and overall balance of their mixes, even when facing challenges with panning and bus sends.
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Frequently asked questions
To make sure the panning info follows in the bus, you can use the Post Pan setting. This will send your signal after the fader and pan knob, so the send signal will be affected by both the channel strip volume fader and pan adjustments.
Pre Fader sends the audio signal to the bus before any fader or panning adjustments are made to the original track. This gives your bus complete separation from the original track, allowing you to create parallel effects or maintain a consistent signal level for processing. Post Fader, on the other hand, sends the audio signal to the bus after the channel fader but before the panning adjustments. This means that any changes in volume will be reflected in the bus signal, but you can independently adjust the panning.
This issue is often caused by mono EQ on a stereo bus, certain plugins, or other factors. To resolve it, try creating a new bus, ensuring the Logic native pan knob is centred, and using the Direction Mixer plugin. Additionally, ensure your sends are "post-pan" to maintain individual track panning.
You can create a mono track that is dry and another mono track with the processing post-amp but without the effects. Then, create a stereo track that includes only the reverb and delay effects. Route the mono track with the amp sound to the same bus that you route the effects to, allowing you to change the level of the effects without reamping.
