Cody Casey
Understanding pan laws in Pro Tools is important for film mixing and sound design. The panning law becomes significant when a source is actively panned across the soundstage, and you want the audience to perceive the source as remaining at a constant level. The perceived effect is the same, but the absolute levels differ, which can be significant in some situations. The older pan laws in Pro Tools were at -2.5 dB up to Version 8, while Version 9 and later introduced variable pan depths. If in doubt, a pan law of -4.5 dB is recommended as it offers a good balance. Some users prefer to stick to the default settings, while others adjust the pan law to their taste.
| Characteristics | Values |
|---|---|
| Purpose of pan law | To maintain a constant level of sound as it moves around the soundstage |
| Effect of pan law | Alters the signal level |
| Default settings | Many users stick to default settings, but some adjust to taste |
| Stereo outputs | Stereo channels are not normally affected by pan law for stereo outputs |
| Pro Tools | Primarily 4 kinds of pan depths; older versions had -2.5 dB pan law |
| Reaper | Default curve is unique: 0db change at center, rises to +2dB partially, then back to 0dB |
| Logic Pro X | Default pan law caused 3dB clipping |
| Recommended setting | If in doubt, a pan law of -4.5dB is recommended |
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What You'll Learn
Default settings
The default settings for pan laws in Pro Tools were at -2.5 dB up to Version 8. Variable Pan Depths were introduced in Version 9 onwards, with options of -2.5 dB, -3.0 dB, -4.5 dB, and -6 dB. The default setting for Cubase is equal power.
The panning law, or pan law, refers to the amount by which the signal level is altered. It is particularly significant when a source is actively panned across the soundstage, and you want the audience to perceive the source as remaining at a constant level as it moves around. If you change the pan position, you will also change the relative level of that source and will likely need to tweak the source level to maintain the same overall mix balance.
It is generally advised that you should not change the pan law once the mix has begun. Changing the pan law of a session will change the mix, so it is recommended not to change it on a finished mix. If you never move a pan during a mix, it doesn't matter what your pan law is, as you will adjust the level to suit any given static pan position.
Some people always use the default pan law setting in their DAW, while others adjust it to taste. A pan law of -4.5 dB is recommended as offering the best of both worlds.
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Stereo and surround pan laws
When using Pro Tools, the stereo and surround pan laws can be quite confusing. The concept of a pan law, or panning rule, is a recording and mixing principle that ensures a constant loudness as a signal is directed left or right with the pan pot. This is achieved by attenuating the level of both left and right output channels as the pan control is moved towards the centre.
There are two fundamental panning laws relating to the way the material will be auditioned. If you want the sound to be perceived as remaining at a constant volume regardless of the pan position, the centre attenuation needs to be 3dB. This is because the acoustic summation of two identical signals increases the perceived volume by 3dB. On the other hand, if you want the sound to be perceived as having a constant level when summed to mono, the centre attenuation needs to be 6dB, as the electrical addition of two identical signals creates a new signal with an amplitude 6dB larger.
In Pro Tools, there are primarily four kinds of Pan Depths, which can be found in the Session Setup as a drop-down menu. The older versions of Pro Tools, up to Version 8, had a default pan law of -2.5 dB. From Version 9 onwards, variable Pan Depths were introduced, allowing users to choose between different pan laws. For example, the -3dB pan law is often used for stereo mixes, while the -6dB law is used for mono outputs like dialogues and VO in films.
When working with surround sound, the constant power pan law is essential to maintain loudness. This is where the concept of stereo and surround pan laws becomes crucial in creating immersive audio experiences.
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Balancing the source in the mix
In Pro Tools, the default Pan Law setting is typically set to -3dB, which is suitable for most use cases. However, depending on your specific requirements, you may need to adjust this setting to achieve the desired balance. For example, if you are panning from LS1 to LS9 in the stereo field, following the -3dB Pan Law will provide more accuracy compared to panning from Left to Left Surround.
It's important to note that the Pan Laws only become significant when a source is actively panned across the soundstage. If you have a static pan position, you will need to balance the source in the mix accordingly. Adjusting the pan position will also change the relative level of the source, so you may need to tweak the source level to maintain the overall mix balance. This is because the pan pots not only position elements in the stereo field but also adjust the level sent to each channel.
Additionally, different software may have different default Pan Law settings, which can affect the overall mix. For example, Logic Pro X and Final Cut Pro have different default pan laws, which can lead to clipping issues when using them together. Reaper, another software, has a unique default curve, starting at 0dB at the centre and rising to +2dB partially through the sweep.
When balancing the source in the mix, it's recommended to experiment with different Pan Law settings to find the one that best suits your needs. If you are unsure, a pan law of -4.5dB is a good starting point as it offers a balance between the two extremes. Ultimately, the choice of Pan Law depends on the specific requirements of your project and your artistic preferences.
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Pan law dB settings
The pan law dB settings determine the relationship between the sound's apparent image position and the pan knob control. This refers to the way the sound behaves when it is moved across the stereo field. The usual requirement is that it moves smoothly and linearly across the field.
The pan law, or panning law, is the amount by which the signal level is altered. There are two fundamental approaches with different aims and results. The first approach involves attenuating the level of both left and right output channels as the pan control is moved towards the centre. The second approach involves raising the level of one channel as the pan moves towards that side. The perceived effect of these approaches is much the same, but the absolute levels differ, which can be significant in some situations.
The pan law only becomes significant when a source is actively panned across the soundstage and you want your audience to perceive the source as remaining at a constant level as it moves around. For any given static pan position, you have to balance the source in the mix accordingly. If you change the pan position, you will also change the relative level of that source and will have to tweak the source level to maintain the same overall mix balance.
The two fundamental panning laws relate to the way the material will be auditioned. If you want the panned sound to be perceived as remaining at a constant volume regardless of the pan position, then the centre attenuation needs to be 3dB. This is because the acoustic summation of two identical signals increases the perceived volume by 3dB. This is the law to choose if your audience will only ever listen via stereo loudspeakers. If you want the panned sound to be perceived as having a constant level when summed to mono, the centre attenuation needs to be 6dB. This is because the electrical addition of two identical signals creates a new signal with an amplitude that is 6dB larger. This is the law to choose if your audience is likely to hear a mono sum, such as when broadcast on radio or TV, or in a club, or on a mobile phone or tablet.
The older Pan laws in Pro Tools were at -2.5 dB up to Version 8. Variable Pan Depths were introduced in Version 9 onwards. Cubase defaults to -3dB (classic equal power), but has settings for all the standards. If in doubt, a pan law of -4.5dB offers the best of both worlds.
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Pan law options
The panning law only becomes significant when a source is being actively panned across the soundstage and you want your audience to perceive the source as remaining at a constant level as it moves around. Stereo channels are usually not affected by pan law for stereo outputs.
There are four primary kinds of Pan Depths in Pro Tools. The older versions of Pro Tools had a pan law of -2.5 dB up to Version 8, with variable Pan Depths introduced in Version 9 and onwards. The -3dB pan law is also used in Dolby Atmos, and in Pro Tools, you can see that the 'Pan Depth' is set to -3.0dB.
Reaper, a digital audio workstation software, allows you to change the Pan Law of each track individually. Its default curve is unique, with a 0 dB change at the centre, rising to about +2 dB partially through the sweep and then back down to 0 dB at the end.
If you are unsure, a pan law of -4.5 dB is a good middle ground.
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Frequently asked questions
If you are unsure about which pan-law setting to use, a setting of -4.5dB is a good option as it offers the best of both worlds.
The pan law, or panning law, refers to the amount by which the signal level is altered. There are two fundamental approaches with different aims and results.
The pan law is useful when you want your audience to perceive the source as remaining at a constant level as it moves around.
Reaper’s default curve is unique, with a 0db change at the centre, rising to +2dB partially and then back to 0dB at the end. The older Pro Tools versions had a default setting of 0dB up to Version 8, with variable Pan Depths introduced from Version 9. Some users prefer to stick to default settings while others adjust to taste.
