Tillie Doyle
Panning a drum kit with an audio interface can be done in a few ways, depending on the desired sound and genre of music. The first step is to set the initial balance of the drum kit in mono to avoid a false sense of separation from stereo panning. Drums can be panned to the drummer's perspective, with the hi-hat on the left and the floor tom on the right, or the audience's perspective, with the opposite arrangement. The kick drum is usually panned in the centre, with the snare drum often in the same position to provide a foundation for the mix. To make the kit sound wide, the overhead microphones can be panned hard left and right.
| Characteristics | Values |
|---|---|
| Panning a drum kit | Creates a more natural sound and represents the kit in an accurate way |
| Perspective | Drummer's perspective or audience perspective |
| Drummer's perspective | The elements of the drum kit are panned as if from the perspective of the drummer sitting at the kit |
| Audience perspective | The drum kit is imagined from the perspective of the audience sitting in front of the drum kit |
| Kick drum | Usually panned in the centre |
| Snare drum | Most often panned to the centre, sometimes slightly off-centre |
| Overhead mics | Can be panned hard left and right for a wider spread |
| Hi-hat | Can be kept in the centre, or moved slightly off-centre to make space for vocals |
| Toms | Can be panned to the left or right to create a natural stereo spread |
| Mono compatibility | Important to set the initial balance of the drum kit in mono to avoid issues when checking the mix later |
| EQ | Use EQ to separate instruments while in mono for greater clarity, depth and width |
| Pan pot | Controls volume and splits audio signal into left and right channels |
| Panning law | Ensures volume level remains constant regardless of where the pan pot is placed |
| LCR panning | Technique used by mix engineers where the pan pot is set to left, centre or right |
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What You'll Learn
Drummer vs. audience perspective
Panning a drum kit involves positioning the sounds of the individual drums within a stereo image, with the kick drum always in the centre. The two main approaches are the drummer's perspective and the audience's perspective.
The drummer's perspective involves panning the drum kit as if you are the drummer sitting at the kit, with the hi-hat on the left and the floor tom on the right. This approach can make listeners feel like they are sitting at the drum kit and enhance the listening experience by putting them 'in' the music. Drummers themselves tend to prefer this approach as it sounds more natural to them, and it is common in many albums.
The audience's perspective involves panning the drum kit as if you are an audience member watching a show, with the hi-hat on the right and the floor tom on the left. This approach can give listeners the feeling of being at a live show, and some audio engineers prefer it for this reason. However, some people find it confusing and disorienting, especially drummers, who may find it irritating.
There are arguments for both perspectives, and ultimately it may come down to personal preference. Some people may prefer the drummer's perspective because it feels more natural, while others may prefer the audience's perspective for a more immersive listening experience.
It is worth noting that in most pop music, the drums are generally panned down the centre, and throwback styles like old-school jazz and Motown are often in mono. Additionally, for live performances or audio accompanying video, it may be preferable to use the audience perspective for a more natural visual and auditory experience.
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Mono compatibility
Starting a mix in mono and using EQ to create tonal separation between tracks will give you a more mono-compatible mix and make the stereo image even bigger-sounding when you do introduce panning. By setting the initial balance of the drums during mixing in mono, you avoid the false sense of separation given by stereo panning. You can also avoid the issue of certain elements of your mix dropping in level significantly when checking your mono mix later down the line.
To achieve mono compatibility, set your monitor controller or interface to mono, then set your panning and fader positions. Use EQ to separate instruments while in mono, and you'll have greater clarity, depth, and width when you go back to stereo. This technique can also highlight phase cancellations caused by using multiple mics.
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Overhead mics
Overhead microphones are essential for capturing the full detail and spatial characteristics of your drum kit. They are usually placed symmetrically, with null points directed at each other, and positioned about 10-12 inches above the snare drum. This way, they can pick up the entire kit, not just the snare and cymbals.
When it comes to panning overhead mics, there are a few techniques to consider. One common approach is to pan them hard left and right (7:00 and 5:00) to achieve an extremely wide stereo image. This technique fills up the stereo field and creates a full, broad sound. However, for a less open stereo image, you can pan them slightly less drastically left and right at around 8:00 and 4:00.
Another technique involves matching the panning of the overhead mics to the position of the drums in the stereo image. This means panning the overhead mics to match the placement of the individual drums as they appear in the overheads. This technique takes practice but ensures a cohesive and unified drum sound.
When choosing overhead mics, it is important to consider matched pairs to ensure a balanced and accurate stereo image. While affordable drum mic kits can get the job done, investing in higher-quality mics can significantly improve the spatial dimension and overall recording quality. Condenser mics are commonly used for overheads, and among these, cardioid mics are popular as they pick up sound from one direction, providing clear and detailed recordings.
Some recommended overhead mics include the Neumann KM184s, which are industry-standard microphones known for their high quality and versatility. Rode M5 microphones are another affordable option, offering a fuller sound with less harsh high end. For those on a tighter budget, the Behringer C-2 mics provide a thin sound but are versatile and suitable for various applications beyond drum recording.
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The kick drum
However, there are a few exceptions. If you're mixing in more fringe genres, you might want to pan the kick drum off-centre to add weight to one side. You can also try having two different kick drum samples hard panned for a unique effect.
It's important to set the initial balance of the drum kit in mono to avoid a false sense of separation caused by stereo panning. This can be done by setting your monitor controller or interface to mono, and then setting your panning and fader positions. This will also help to ensure mono compatibility, which is important for listeners consuming music on mono speaker setups.
The pan pot (short for panoramic potentiometer) is a volume control that splits the audio signal into left and right channels. When you turn it left, the volume of the left speaker increases while the volume of the right speaker decreases simultaneously. This is called LCR panning.
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The snare drum
One common approach is to pan the snare drum to the centre, or 12 o'clock position, on the panning knob. This is because the snare drum, along with the kick drum, forms the foundational elements of the drum kit, and centring them allows them to take up the "middle" space in the mix. This approach is often used when creating a drum mix for a full track, as it provides a stable base for the other drum elements to work around.
However, some engineers prefer to pan the snare drum slightly off-centre, usually not more than +/-20% left or right (between 11 and 1 o'clock on the panning knob). This can help the snare stand out a little more in the mix and can be useful when creating a drum cover or in situations where you want to fill up the stereo field as much as possible.
When panning the snare drum, it is important to consider the perspective you are panning from. The two main perspectives are the drummer's perspective and the audience perspective. The drummer's perspective involves panning the elements of the drum kit as if you are the drummer sitting at the kit. For a right-handed drummer, this typically means the hi-hat is on the left and the floor tom is on the right. The audience perspective is the opposite, where you imagine the kit from the perspective of the audience sitting in front of the drum kit. There is no industry standard, and the choice of perspective depends on the specific recording and your personal preference.
Additionally, when panning the snare drum, you should also consider the position of the hi-hat, as the hi-hat mic is usually very close to the snare drum. If the hi-hat is panned too far from the centre, it can pull the snare drum out of its central imaging position. Many engineers keep the hi-hat in the centre or slightly off-centre to avoid this issue.
Finally, it is worth noting that the panning technique may also depend on the genre of music you are mixing. For example, in electronic music, you may have more freedom to experiment with panning, while in jazz, you may want to avoid automating drum panning. Ultimately, the goal is to create a balanced sound that engages the listener and complements the other elements of the mix.
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Frequently asked questions
There are two main ways to pan a drum kit: from the drummer's perspective or the audience's perspective. From the drummer's perspective, the hi-hat will usually be on the left and the floor tom on the right. From the audience's perspective, the hi-hat is on the right and the floor tom is on the left.
To pan a drum kit from the drummer's perspective, pan the hi-hat 30% to the left and the tom drums 15-30% to the left and right. This creates a natural stereo spread.
To pan a drum kit from the audience's perspective, pan the hi-hat 30% to the right and the tom drums 15-30% to the left and right. This creates a natural stereo spread.
Yes, here are a few additional tips for panning a drum kit:
- The kick drum and snare drum should usually be panned to the centre of the stereo field.
- Overhead microphones should be panned wide to capture the cymbals and other pieces of the kit.
- It's important to pan your kit to match how it looks in reality, especially if you're editing audio for a drum cover.
- Start mixing in mono to avoid issues with separation when switching between mono and stereo.
