Emilie Meyer
Panning is a way of achieving balance in a mix by assigning each instrument or sound a position in the stereo field, ensuring that each has its own space and doesn't conflict with others. The aim is to make everything sound like it's playing together naturally. There are several rules and techniques to follow when panning different instruments, such as never having too much noise coming out of one speaker, panning similar-sounding instruments opposite to one another, and double-tracking instruments and panning them hard left and right. However, while there are conventions when it comes to panning, they can always be broken for creative effect.
| Characteristics | Values |
|---|---|
| Rhythm guitars | Double-tracked, then hard-panned left and right |
| Harmony parts | Panned similarly to vocal harmonies |
| Single lead | Center |
| Two leads | Pan about 10% left and right |
| Bass, kick, vocals | Center |
| High-frequency instruments | Panned wide |
| Drum kit | Panned like it would be live from the audience (right or left side of the stage, just a touch) |
| Main vocals with effects | Chained to another mixer slot |
| Drums | Kick and snare in the middle, toms panned from side to side, overheads panned hard left and right |
| 3D imaging | Place the instrument in the center of a cube and adjust the panning, EQ, volume, etc. accordingly |
| Two similar-sounding instruments | Pan one left and the other right |
| Stereo pair of microphones | Panned hard left and hard right |
| Individual drum mics | Panned to match their location in the overheads |
| Double-tracked instruments | Panned hard left and hard right |
| Verse and chorus | Create different panning schemes for each |
| Mono | Always check your mix in mono |
| Car stereos | Check your mix in car stereos |
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What You'll Learn
Panning a drum kit
There are two main approaches to panning a drum kit: the drummer's perspective and the audience's perspective. The former involves panning the elements of the drum kit as if you are the drummer sitting at the kit. For a right-handed drummer, this means the hi-hat will usually be on their left and the floor tom on their right. The audience perspective is the opposite: the hi-hat is on the right and the floor tom on the left. Most mixers tend to use the audience perspective, but there are no hard rules.
When panning a drum kit, it is important to pan individual drum mics so that each drum matches its location in the overheads. Overhead mics should be panned hard left and right. Then, introduce tom mics one by one, panning them to match their position in the overhead mics. Any close cymbal or hi-hat mics should also agree with the overhead mics. Once the overheads and toms are in position, introduce cymbal and hi-hat mics and pan them to match the overheads. Then, try panning them in a slightly more exaggerated way to add spaciousness to the kit. For example, a crash cymbal that would be panned 20% to the left to agree with the overheads could be panned to 25% or 30% instead to add width.
The kick and snare drums are usually panned to the centre, providing a foundation for the rest of the mix. The toms are then panned from side to side, from high to low. The hi-hat is often 50% left, and the overheads are panned 100% left and right. However, there is no single rule for panning a drum kit, and mixers may choose to pan the entire kit to one side or the kick to 100% left and the snare to 100% right.
It is important to note that everyone's drum kit is different, and the position of the drums from left to right may vary. Therefore, it is crucial to pan your kit to match its physical layout, especially when editing audio for a drum cover.
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Panning double-tracked instruments
- Bus the two rhythm guitar tracks to a stereo group track and pan them equal amounts left and right. They don't have to be panned 100% left and right, but should always be equal amounts. For example, you could pan them 82% left and right, or 65% on each side, depending on what gives the right sense of "width" to the track.
- Do the same with the two lead guitar tracks, but to a different stereo group track.
- Then, pan each stereo bus to where you want it focused in the stereo field. For example, you might pan the rhythm bus 24L and the lead bus 22R, or whatever sounds right to you.
- If you have two similar-sounding instruments, such as two guitars, pan one left and the other right. This will help to create a more balanced mix and avoid the instruments sounding confused or like they are playing in exact synchronicity.
- Be mindful of not panning a single instrument too wide. For example, if you aim two microphones from different positions at an acoustic guitar and pan hard left and right, it can sound like two guitars are playing in exact synchronicity, which is not a natural sound.
- If you are working with heavily distorted guitars, you might want to try hard panning them left and right, with the lead in the middle. This can create a sense of space in the mix.
- However, if there are no lead vocals, you may want to put the lead guitar straight up the middle as it is the main focus. If there are lead vocals, you can leave the lead guitar hard panned to one side.
- When panning, it can be helpful to imagine a 3D cube. Place your instrument in the center of the cube. If you pan left, the instrument moves to the left. If you decrease the volume, it travels further back into the cube. This can help you to give each instrument its own space in the mix.
- Remember, there are no hard and fast rules for panning, so feel free to experiment and find what works best for your mix.
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Balancing frequencies
Panning is a crucial technique for achieving balance in a mix, alongside frequency manipulation and dynamic control. The pan position of each instrument affects the sound quality and overall balance of the mix. The goal is to sculpt a full, rich stereo image that feels immersive and alive.
When balancing frequencies, it is important to consider the stereo image of the track. Music exists in a three-dimensional space, with width, depth, and height. Width is the perceived distance between sounds in the left and right speakers, controlled by the pan knobs on each track. Depth is the perceived distance between the listener and the "back wall" of the mix, controlled by volume levels, reverb, and other time-based effects. Height is the perceived distance from the top to the bottom of the track, with bass frequencies perceived as closer to the floor and high-pitched frequencies closer to the ceiling.
To achieve balance with panning, it is important to consider the frequency range of each instrument. If you have two instruments occupying similar frequencies, try panning them opposite to each other. For example, an electric guitar can be panned slightly left to complement a keyboard panned slightly right, creating a more balanced feel. This technique can also be applied to drums, with the hi-hat panned 30% left or right, balanced by a guitar riff on the opposite side.
In some cases, it may be beneficial to use frequency-based panning, also known as spectral panning. This technique allows you to divide the signal into frequency bands and pan them individually. For instance, if you have a prominent instrument with dense low-frequency content, panning it between the centre and the left speaker can make the mix lean to the left. This is because low frequencies pull the weight of the mix in their direction. Tools like Stereoplacer from Nugen Audio and bx_panEQ from Brainworx can help with frequency-based panning and balancing.
Additionally, consider the overall mix and arrangement of instruments. Keep low-end heavy instruments like kick, bass, and snare in the centre of the mix to keep everything grounded and drive the beat forward. If you have multiple instruments with similar frequency ranges, such as two guitars, keep them spaced apart in the mix to avoid a muddy or jumbled sound. For sparse mixes, utilise the natural width of instruments like the piano by panning the microphones hard left and right. Conversely, for busier mixes, pan supporting instruments somewhere between the centre and one side.
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Stereo panning
Traditionally, the kick, snare, bass, and vocal tracks are panned directly to the centre of a mix, as it is the focal point. This is because our ears tend to focus on signals panned to the centre, extreme left, or extreme right. Rhythm guitars are often double-tracked and then hard-panned left and right, creating a sense of width. If you have two similar-sounding instruments, such as two guitars, panning one left and the other right can help create separation and clarity in the mix.
To achieve a more immersive and organic-feeling mix, it is important to give each instrument its own space. Visualising a three-dimensional cube can help with this, placing instruments at different points within the cube to create depth and width. Panning an instrument left or right will slide it along the X-axis, while adjusting the EQ can make it seem like the instrument is raising or lowering within the space.
It is also important to consider the balance between the left and right channels. A mix can sound odd if one channel seems to have a greater weight of sound than the other. In general, both channels should be at a similar level, though this should ultimately be judged subjectively. Additionally, be mindful not to make a single instrument too wide in the stereo image, as this can sound unnatural and confusing.
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Panning individual drum mics
Choose Your Perspective
Before you begin panning, decide on the perspective you will be adopting. You can choose between the drummer's perspective, which involves panning from the left to the right as seen by the drummer, or the audience's perspective, where you imagine someone facing you while watching you play and pan from their viewpoint. There is no right or wrong choice here, and it largely depends on personal preference and the genre of music.
Balancing Overheads and Spot Mics
Start by balancing your overhead mics, which are typically panned hard left and hard right, creating the required stereo image width. The kick drum usually occupies the centre of this image, so ensure it is positioned accordingly. Next, match the panning of each spot mic (snare, toms, hi-hats, etc.) with its corresponding position in the stereo soundstage provided by the overheads. For instance, if your floor tom is on the left in the overheads, pan the close mic for that drum to the left as well. This ensures the drum tracks are localized correctly for the listener.
Fine-Tuning and Adjustments
Once you have matched the panning of the spot mics with the overheads, you can fine-tune the levels and adjust any discrepancies. Fade the spot mics up and down to ensure the apparent image moves as expected. Additionally, check the polarity of each spot mic against the overheads to achieve the fullest sound. You may need to compromise and apply high-pass or low-pass filtering to optimize the polarity settings.
Avoid Common Pitfalls
Be mindful of not overdoing the panning and creating an unbalanced mix. For example, panning the kick drum too far off-centre can make the listener feel off-balance. Also, ensure that your close mics and overheads are panned in agreement to avoid confusion and a messy sound. Always strive for a natural and clear stereo image that enhances the listening experience.
Practice and Experimentation
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Frequently asked questions
Pan the kick and snare in the middle, toms from side to side, and overheads hard left and right.
Pan one left and the other right. This will create a more balanced feel.
Rhythm guitars are typically double-tracked and then hard-panned left and right.
If you have two guitars occupying similar frequencies, try panning them opposite one another, say 20% left and 20% right.
Bass typically stays in the centre.
