Ella Walter
Panning a drum set in Pro Tools involves placing each drum within a stereo image, creating a sense of space and perspective for the listener. The two main approaches are panning from the drummer's perspective, which follows their left-to-right visual layout, and panning from the audience's perspective, providing a surround-sound experience. While the former is generally preferred for mixing full tracks, the latter suits drum covers and videos, giving the audience the feeling of being in the room with the drummer. To achieve a balanced sound, it's crucial to keep heavier elements like the kick and snare drum in the centre, while cymbals and hi-hats can sparkle on the sides. Panning each drum piece requires understanding its role in the kit and the desired aesthetic, with options to experiment in fringe genres.
| Characteristics | Values |
|---|---|
| Panning a kick drum | Always in the centre |
| Panning a snare drum | Centre or slightly off-centre |
| Tom panning | 50% L/R |
| Hi-hat panning | 30% off-centre |
| Rack toms | 15% left and right |
| Floor toms | 30% left |
| Mono OH and stereo rooms | Centre |
| Stereo OH and a mono room | Centre |
| Pianos | "Lo" and "Hi" |
| Overhead mics | Labelled "hat" and "floor" |
| Perspective | Drummer's perspective or listener's perspective |
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What You'll Learn
Panning kick drums
Panning drums help the listener to localise sound and carelessly panned drums can be very disorienting. There are two different ways to pan drums: from the listener's perspective and from the drummer's perspective.
When panning kick drums, it is recommended to always keep them dead centre in the stereo image. This is because panning the kick drum off-centre can add weight to one side, making the listener feel off-balance.
In Pro Tools, there are a few ways to achieve this. One way is to use the "center %" knob on the panner to ensure the kick drum is centred. Another method is to use a mono to stereo plugin to change the track width. By starting with full phantom imaging, you can then bring in your left and right channels to spill into the centre as needed.
Additionally, when panning kick drums, it is important to keep in mind the balance with other elements of the drum set. For example, the kick drum and snare are typically kept in the centre, while cymbals and hi-hats are given room to sparkle on the sides.
Overall, the specific panning techniques used may vary depending on the genre of music and personal preference. However, by keeping the kick drum centred and maintaining a balanced stereo image, you can create an engaging and energetic mix that accurately localises the sound for the listener.
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Panning snare drums
Panning a drum set in Pro Tools involves placing different elements of the kit within a stereo image, enhancing the listening experience for your audience. There are two main perspectives to consider when panning a snare drum: the listener's perspective and the drummer's perspective.
Listener's Perspective
From the listener's perspective, also known as the "crowd's perspective," you would pan the snare drum to match their viewpoint, as if they were facing you while watching you play. This approach aims to provide the listener with an immersive experience, making them feel like they are part of the performance. It is worth noting that some audio engineers prefer this method as it gives the listener a similar experience to attending a live performance.
Drummer's Perspective
The drummer's perspective involves panning the snare drum from the drummer's point of view, which means left to right as the drummer sees it. This approach can be more intuitive for the drummer and is often preferred when mixing a full track. It fills the stereo field and ensures a balanced sound between the left and right channels, giving cymbals and hi-hats room to shine on the sides.
Panning Techniques for Snare Drums
When panning snare drums, there are a few techniques to consider:
- Keeping the Snare Drum Central: Some producers prefer to keep the snare drum at the centre (12:00) of the stereo image, creating a balanced sound between the left and right channels. This is especially useful when working with other instruments that need a wider soundstage.
- Off-Centre Panning: Others might choose to pan the snare drum slightly off-centre, not more than +/-20% left or right (between 11:00 and 1:00). This gives the snare more room in the mix and prevents it from fighting for space with other instruments.
- Matching Overhead Mics: If the snare is prominent in your overhead mics, you can match the snare panning to the position of the overhead mics. This ensures that the snare sound is clear and not confusing for the listener.
- Layering and Stereo Spread: To create a spacious and impressive sound, you can layer multiple snare sounds and pan them to different positions in the stereo field. For example, panning one layer to the far left, another to the far right, and leaving one in the middle. This technique adds drama and interest to your mix.
Ultimately, the choice of panning perspective and specific snare drum panning techniques will depend on the desired sound and feel of your mix. Experiment with different approaches and trust your intuition to create the best listening experience for your audience.
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Panning tom drums
Panning drums help the listener localise sound, and carelessly panned drums can be very disorienting. There are two different ways to pan drums: from the listener's perspective and from the drummer's perspective. The listener's perspective involves picturing someone facing you while watching you play and panning the kit from their perspective. The drummer's perspective involves panning the drums from left to right, as seen by the drummer.
When panning tom drums, it is important to ensure that the overheads and close mics are panned in agreement to localise the drum for the listener. For example, if the floor tom in the overheads is on the left, the close mic should also be panned to the left. Tom fills can add stereo spread by panning these tracks 20 to 50% to the left and right to fill the space between the overheads.
The tom panning tends to match closely with the overheads, with close mics adding definition when needed. In jazz, the main drum sound often comes from the overheads, while in rock and pop, close mics are relatively higher in the mix. In electronic music, there is more flexibility, and automating a hi-hat sample to bounce between the left and right channels can add interest to the mix.
When panning drums, it is important to keep heavier or key elements in the centre, such as the kick and snare, to ensure a balanced mix between the left and right channels. The kick drum should always be panned dead centre to avoid adding weight to one side and making the listener feel off-balance. The snare drum can be panned to the centre or slightly off-centre to match the overhead mics.
It is also important to adjust levels after panning, as some things may appear louder due to the increased stereo spread. Panning drums can create a wider and more open sound, enhancing the listening experience and making it feel like the listener is in the room with the drums.
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Drummer's perspective vs. audience perspective
Panning a drum set in Pro Tools involves placing different elements of a mix within a stereo image, helping listeners to localize sound. There are two primary perspectives for panning: the drummer's perspective and the audience perspective.
Drummer's Perspective
From the drummer's perspective, panning is done from left to right, mirroring what the drummer sees. This approach is often preferred when mixing a full track, as it can fill the stereo field more effectively. Drummers may also prefer this method as it aligns with the natural left-to-right reading and visualization process. Additionally, it can be easier to locate specific parts of the kit during the mixing process when panning is done from the drummer's perspective.
Audience Perspective
The audience perspective, also known as the listener's or crowd's perspective, involves panning the drum kit from the viewpoint of someone facing the drummer while watching them play. This method is commonly used for drum covers, as it matches the visual perspective of the viewer, creating an immersive experience that makes them feel like they are part of the performance. Some audio engineers favor this approach as it simulates the live band experience for the listener.
Considerations
The choice between the drummer's and audience perspective depends on personal preference and the specific requirements of the mix. It is worth noting that some drummers dislike the audience perspective, finding it disorienting or unnatural. However, others argue that the panning perspective is not always noticeable to the average listener. Ultimately, the goal is to create a balanced and engaging mix, ensuring that the key elements are positioned centrally and that the overall sound is not confusing or cluttered.
Additionally, it is important to remember that panning decisions should consider the placement of other instruments in the mix to avoid overcrowding specific areas of the stereo field. For example, if there is a tambourine and a pair of maracas in the left speaker, placing the hi-hats in the same speaker may result in a cluttered sound.
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Balancing sound
When panning from the listener's perspective, it is important to keep the overheads and close mics in agreement to localise the drum for the listener. For example, if the floor tom in the overheads is on the left, the close mic should also be panned to the left. Panning the kick drum off-centre can make the listener feel off-balance, so it should always be in the centre of your stereo image.
When panning from the drummer's perspective, heavier or key elements such as the kick and snare should be kept in the centre to balance the mix between the left and right channels. This also gives cymbals and hi-hats room to sparkle on the sides. The hi-hat can be panned from either the drummer's perspective (left) or the audience's perspective (right). Panning the hi-hat about 30% to the right can work well, simulating where it would be heard in a live setting.
Toms are typically miced up separately, so you might have multiple individual tracks for your tom panning. The floor tom is usually opposite the hi-hat, so you can pan it about 30% to the left. Rack toms can be panned 15% left and right. If the tom sounds are mainly coming from direct mics, panning them 50% left and right can create a more natural dynamic in the stereo field's width. However, if the sounds are coming mostly from overheads and/or rooms, hard-panning the direct mics can work well.
While these are general guidelines for balancing sound when panning a drum set, the specific approach may vary depending on the genre of music and personal preference.
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Frequently asked questions
There are two main ways to pan a drum set. The first is from the drummer's perspective, panning the drums from left to right as the drummer sees them. The second way is from the audience's perspective, which involves panning the drums as the audience would experience them.
When panning from a drummer's perspective, it is important to keep the heavier or key elements in the centre, such as the kick and snare drums. This will help to ensure a balanced mix between the left and right channels. Additionally, when panning the hi-hat, you can choose to pan it from the drummer's perspective (left) or the audience's perspective (right).
When panning from an audience's perspective, it is important to localise the sound for the listener. This means ensuring that the overheads and close mics are panned in agreement. For example, if the floor tom in the overheads is on the left, the close mic should also be panned to the left to avoid confusion.
