Cody Casey
Drum panning is a technique used to create a balanced sound that doesn't lean too heavily on either side of a mix. It involves adjusting the placement of microphones around a drum kit to achieve a desired stereo image. The two main approaches are panning from the drummer's perspective and panning from the audience's perspective. The former involves arranging the microphones to match the drummer's viewpoint, while the latter aims to provide a natural stereo image as if heard by the audience. The choice between these perspectives depends on personal preference and the specific requirements of the mix. By carefully positioning the overhead and spot microphones, engineers can create a wide and open sound that enhances the overall impact of the drum kit in the recording.
| Characteristics | Values |
|---|---|
| Goal | A balanced sound that doesn't lean too heavy on either side of the mix |
| Benefits | Makes the listener feel like they're in the room; adds clarity, space, and width to the mix |
| Panning methods | Drummer's perspective (left to right); listener's/crowd's perspective (opposite of drummer's perspective) |
| Overhead mics | Can be panned hard left and right (7:00 and 5:00 or 8:00 and 4:00) for a wider spread or less open stereo image |
| Snare drum | Usually panned to the centre, sometimes slightly off-centre to match overhead mics |
| Kick drum | Typically occupies the centre of the image |
| Toms | Panned to match the position in the overhead mics; can be over 50% left or right for a wider spread |
| Hi-hat | Placed one 'hour' further left or right than the snare |
| Cymbals | Can be panned hard left or right to create a wide soundstage |
| Close mics | Should agree with overhead mics to localise the drum for the listener |
| Stereo image | Shouldn't be too extreme to avoid interference with other instruments |
| Mono | Setting the initial balance in mono avoids issues with level drops in a single speaker |
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What You'll Learn
The importance of drum panning
Panning drums is an important technique to create a balanced sound that doesn't lean too heavily to either side of the mix. It helps the listener to localize the sound and can make the kit sound big, enhancing the listening experience.
There are two main perspectives to consider when panning drums: the drummer's perspective and the audience perspective. The drummer's perspective involves panning the elements of the drum kit as if from the drummer's point of view, with the hi-hat on the left and the floor tom on the right for a right-handed drummer. The audience perspective does the opposite, imagining the kit from the viewpoint of the audience in front of the drum kit. The audience perspective is often preferred for video-oriented recordings, while the drummer's perspective is more immersive for audio-only formats.
The choice between these perspectives depends on the specific recording and can be a matter of personal preference. For example, some audio engineers prefer the audience perspective as it gives the listener a live band experience. However, when mixing a full track, the drummer's perspective may be chosen to fill the stereo field better. Additionally, the genre being mixed can influence the panning approach, with variations between rock, pop, jazz, and electronic music.
To achieve a balanced sound, it is crucial to ensure that the overhead mics and close mics are panned in agreement. This means that the position of the drums in the overhead mics should match the panning of the individual drum mics. For instance, if the floor tom is on the left in the overhead mics, the close mic for that drum should also be panned to the left. This consistency helps to avoid confusion and maintain a clear, interesting mix for the listener.
In conclusion, drum panning is a valuable technique that enhances the overall listening experience by creating a balanced and immersive soundscape. By considering the different perspectives and ensuring proper mic placement, drummers and audio engineers can effectively utilize panning to make their drums sound massive and give their recordings a professional edge.
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The drummer's perspective vs. the listener's perspective
There are two main perspectives to consider when panning drum mics: the drummer's perspective and the listener's perspective.
The Drummer's Perspective
When panning from the drummer's perspective, the hi-hat is on the left and the floor tom is on the right. This is how a drummer would visualise the kit from their point of view. Drummers often prefer this method as it feels more natural and allows them to play air drums along with the music. It also gives a wider soundstage, with a full and broad sound.
The Listener's Perspective
The listener's perspective, also known as the audience's perspective, involves panning the kit from the viewpoint of someone facing the drummer. This method is often used for drum covers, as it matches the video and gives the listener the feeling of being there in the room. Some audio engineers prefer this perspective as it is more like listening to the band live.
Factors Influencing Perspective Choice
The choice between the two perspectives depends on various factors, including the genre of music, the number of mics used, and the desired sound. For example, in rock music, the snare is typically centred, while in jazz, the main drum sound often comes from the overheads.
Additionally, the number of mics used can impact the panning choice. With a setup of 3-10 mics, the snare and kick are usually centred, and the toms are panned left and right. However, with a stereo room pair, hard separation is needed for the correct stereo image.
Ultimately, the decision between the drummer's and listener's perspectives comes down to personal preference and the specific requirements of the song or mix. Some people prefer the drummer's perspective as it feels more natural due to our left-to-right reading and visualisation habits. In contrast, others argue that the listener's perspective is better as it gives a more accurate representation of the band's positioning on stage.
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Mono vs. stereo panning
When it comes to panning drum mics, the goal is to create a balanced and wide stereo image that doesn't lean too heavily to either side of the mix. This technique helps the listener to localize the sound, and careless panning can be disorienting. There are a few different approaches to panning drum mics, including the drummer's perspective and the audience's perspective.
From the drummer's perspective, the panning is done from left to right as the drummer sees it. This approach is often used when mixing a full track, as it can fill the stereo field effectively. For overhead mics, some prefer to pan them hard left and right (7:00 and 5:00 or even further) for a wider spread, while others opt for a less open stereo image by panning less drastically left and right (around 8:00 and 4:00). The kick drum should always be in the centre/12:00 of the stereo image, while the snare drum is usually also centred but can be slightly off-centre to agree with the overhead mics. For tom fills, panning them between 20% and 50% to the left and right adds stereo spread and fills the space between the overheads.
From the audience's perspective, the panning is done from the listener's point of view, as if they are facing the drummer. This approach is useful for drum covers as it matches the video and gives the listener the feeling of being there. The overheads are typically panned hard left and right (100% to the left and right) for this perspective. The tom mics are then introduced one by one and panned to match their position in the overhead mics. Any close cymbal or hi-hat mics should also agree with the overhead mics.
The choice between mono and stereo panning depends on the desired effect and the genre of music. In rock and pop, a good balance between the left and right channels is important, and then elements of the mix can be exaggerated to add drama. In electronic music, there is more flexibility, and automating a hi-hat sample to bounce between the left and right channels can be an interesting effect.
Additionally, the use of mono room mics with stereo overheads can smear the stereo image. This is because the mono room mic places all the drum sounds in the centre of the stereo field, conflicting with the stereo separation created by hard-panned overheads. However, some prefer this effect and choose to use mono room mics sparingly to add ambiance and body to the drum tone.
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Panning the kick and snare drum
Panning drums help the listener to localise sound, and carelessly panned drums can be disorienting. The goal is to create a balanced sound that doesn't lean too heavily on either side of the mix.
The kick and snare drums work together to provide the rhythmic groove of a song, with the snare usually panned to the centre or slightly off-centre to match the overhead mics. The kick drum is also typically placed near the centre of the mix. Panning the kick drum off-centre can add weight to one side, making the listener feel off-balance.
When panning drums, you can do it from the listener's perspective (the crowd's perspective) or the drummer's perspective. For the former, you picture someone facing you while watching you play and pan your kit from their perspective. This is the preferred method when editing a drum cover, as it will match the video and give the listener the feeling that they are there. Some audio engineers also prefer this perspective as it would be more like listening to the band live.
For the drummer's perspective, you pan the drums from left to right as the drummer sees them. This is the preferred method when mixing a full track as it generally fills the stereo field better.
When tracking live drums, it is recommended to pan them to the drummer's perspective or mono, and then switch to the audience perspective when mixing.
There is no single correct way to pan drums, and experimentation is encouraged. However, keeping the heavier or key elements in the centre, such as the kick and snare, will help ensure your mix sounds balanced.
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Panning the toms
Panning drum mics for toms can be done in a few different ways, depending on the sound you want to achieve and the number of toms in your kit. Here are some detailed instructions to help you achieve a wide and clear sound:
Firstly, it is important to understand the concept of panning. The "pan pot" (panoramic potentiometer) controls the volume of the left and right speakers. By turning it left, you increase the volume of the left speaker while decreasing the volume of the right speaker, and vice versa. This creates a stereo effect, distributing the sound across the left and right channels of the stereo field.
When panning toms, you can choose to do it from the audience's perspective or the drummer's perspective. Most people prefer the audience's perspective as it creates a more natural stereo image. In this case, the kick drum and snare drum are usually placed in the centre and do not require panning. Toms, on the other hand, are panned to the left or right of the centre, depending on their position in the stereo image captured by the overhead mics.
One method for panning toms is to start by balancing and panning the overhead mics to create the desired stereo image width. Then, match the panning of the tom spot mic with its position in the stereo image. This ensures congruence in panning and phase between the close and ambient mics. Listen carefully to the apparent position of the tom in the stereo overheads, and pan the tom channel to match. You can fade the tom spot mic up and down to check if the image moves and make adjustments as needed.
Another technique is to pan the overhead mics hard left and right (as far as they go), close your eyes, and listen to where you picture the drums in front of you. Then, pan the toms to match their positions in the overheads. This method may take some practice to perfect.
For a more melodic or exotic sound, you can use more radical panning for toms, placing them between 45% and 90% on either side. This creates a wider stereo image and makes your kit sound more spacious.
Remember, there is no absolute right or wrong way to pan toms. The specific values given in this guide may differ from your personal preferences or the sound you envision. Feel free to experiment and adjust the panning to suit your unique style and the requirements of each song.
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Frequently asked questions
Drum panning is a technique used to create a balanced sound that doesn't lean too heavily on either side of a mix. It helps the listener to localize the sound and can add clarity and space to a mix.
There are two main ways to pan drums: from the drummer's perspective (left to right as the drummer sees) and from the audience's perspective (as if someone is facing the drummer while watching them play). There is no absolute right or wrong way to pan drums, and it often comes down to personal preference.
When panning drum overheads, you can go anywhere from 50% to 100% left and right, depending on your preference and the specific mix. For a less open stereo image, you can pan less drastically left and right at about 8:00 and 4:00. After setting the initial balance, you can use EQ to separate instruments while in mono, which will give you greater clarity, depth, and width when you switch back to stereo.
