Emilie Meyer
When it comes to panning hi-hats, there are various approaches that can be taken to achieve the desired sound. Panning is a crucial technique in music production, allowing producers to position instruments and sounds across the stereo field, creating a sense of space and depth in a mix. The hi-hat, being a vital component of a drum kit, often plays a significant role in determining the overall stereo image of a song. Producers and engineers have different preferences for panning hi-hats, with some favouring hard panning (fully to one side) and others opting for a more moderate pan between 20% and 70% to the left or right. The choice of panning depends on the genre, with dance and trance music often utilising different panning techniques compared to rock or pop. Additionally, the physical setup of the drummer and the perspective of the audience can influence the panning choices for hi-hats. Ultimately, the decision on how to pan hi-hats comes down to personal preference, experimentation, and what best serves the song.
| Characteristics | Values |
|---|---|
| Panning technique | Hard panning hi-hats to the left or right |
| Panning to the left or right, but not fully | |
| Centred panning | |
| Panning a closed hat to one side and an open hat to the other | |
| Hard or extreme panning | |
| Alternating sides with automation | |
| Multiple instances of an auto-panner | |
| Stereo effects | |
| Stacking instances of auto pan | |
| Moderate auto-pan for 16th rhythms | |
| Splitting hats open/closed on different channels | |
| Panning away from the centre | |
| Panning according to the drummer's perspective | |
| Panning according to the audience's perspective |
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What You'll Learn
Panning hi-hats to the sides
When panning hi-hats, it's important to consider the mix balance and ensure that there is a sound that counters or supports the panned hi-hat on the opposite side. For example, in dance and trance music, producers often pan the closed hi-hat to one side and the open hi-hat to the other, creating a nice spread and movement in the percussion.
Another approach is to create a duplicate track and pan one track left and the other right, adding symmetry and balance to the mix. This technique can also be used with other percussion instruments, such as shakers or bongos, to create interesting and dynamic percussion sections.
It's worth noting that some producers prefer to keep most elements down the middle, using stereo effects rather than hard panning. This is especially true for techno and dance music, where hi-hats are often in mono. However, hard panning can be very effective and is commonly used in old-school rock records.
Ultimately, the best approach is to listen to the type of track you want to emulate and experiment with different panning techniques to find what works best for your mix.
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Using stereo delays or reverbs
When using stereo delays or reverbs, panning hi-hats can create a sense of width and enhance the stereo image, making the beat more immersive. This technique can also make the mix feel wider and more rhythmic. It is important to note that panning hi-hats too much can cause issues when the audio is collapsed into mono, so it is recommended to only pan them slightly.
When using stereo delays, you can create interesting rhythmic patterns. For example, a dotted eighth-note delay creates a rhythmic echo effect, while longer delays add atmosphere to the mix. Combining panning with delay can further enhance the stereo image, creating a wider sound.
Reverbs can also be used to create a sense of space around the hi-hat sound, smoothing out any harshness. A short reverb with a decay time of 500-800ms can give a natural 'room sound', while a longer decay time of 1-2 seconds creates a dubbed-out, spacious sound. Using a small amount of reverb and cutting the highs can add nice ambience to the hi-hats. However, too much reverb can make the hi-hats sound washed out and distant, creating an unwanted hiss in the background.
When using stereo reverb, you can try panning the dry signal of the hi-hat to one side while leaving the reverb signal centred or slightly opposite. This technique provides a better stereo image and replicates the positioning of a drum kit in front of you. Additionally, combining reverb with other effects, such as light flanging or modulation, can enhance the character and excitement of the drum track.
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Panning a closed hat to one side and an open hat to the other
Panning hi-hats is an important part of creating a stereo image for your drums. There are a few different approaches you can take when panning closed and open hi-hats.
One common approach is to pan the closed hi-hat to one side and the open hi-hat to the other. This creates a nice spread and movement in the percussion. For example, you could pan the closed hi-hat to the left at around the 10 o'clock position and the open hi-hat to the right at the 2 o'clock position. This technique is often used in dance and trance music to add balance and interest to the percussion.
Another approach is to consider the "audience perspective". This involves panning the hi-hats to the right, around 2 o'clock, as if the audience is watching a band perform on stage. This can help to keep the energy of the song up. However, some people prefer to keep the hi-hats in the centre, as it has a lot of high pass and doesn't mess with the stereo image too badly.
It's also important to consider the mix balance. When you hard pan a hi-hat to one side, you can place a sound that counters or supports that activity on the other side. For example, you could pan a shaker to one side to balance a hi-hat on the other.
Ultimately, there is no one-size-fits-all answer, and the best approach will depend on the style of music and your personal preference. Experiment with different panning positions and techniques to find what works best for your mix.
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Hard panning hi-hats
Panning is the process of positioning sounds in a stereo field, and hard panning is when a sound is placed entirely on one side of the stereo field, either hard left or hard right. Hard panning hi-hats is a common technique used in various music genres, including hip-hop, techno, and dance/trance. It is done to create a wider mix, add flavour and movement to the instrumental, and give each element its own space in the mix.
When hard panning hi-hats, it is important to consider the placement of other instruments in the mix. For example, some sound engineers prefer to keep the kick drum, vocals, and bass in the centre of the stereo field. Additionally, the placement of the hi-hat may depend on whether the drummer is right or left-handed.
There are different approaches to hard panning hi-hats. One method is to create a duplicate track and pan one track hard left and the other track hard right. This creates a nice spread and movement in the percussion. Another approach is to use autopan, which involves panning the hi-hat between left and right on each hit, creating a contrasting effect.
It is worth noting that hard panning may not always be the best choice for the stereo image of the track. Some sound engineers prefer to pan the hi-hat slightly off-centre or use techniques like the Haas effect to create width without completely hard panning the hi-hat. Ultimately, the decision to hard pan hi-hats depends on the specific track and the desired sound.
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Placing hi-hats in the centre
When it comes to placing hi-hats in the centre, there are a few things to consider. While some people prefer to have their hi-hats to the left or right, others opt for a central position, depending on the song and the overall stereo image.
For a standard drum kit, the hi-hat is typically placed on the right in the stereo picture. However, some people prefer to pan it to the centre or even dead centre, as the high pass nature of the hat track means it doesn't interfere with the phase of the rest of the kit. This central placement can also help to avoid dragging down the energy of the song, which sometimes occurs when the hi-hat is placed too far to one side.
In terms of specific techniques, some people choose to pan their hi-hats between 20 and 65 on the left and right, avoiding hard panning. This approach is similar to the concept of audience perspective, where the hi-hat is placed in the position that a live audience would perceive it to be. Others opt for a more personalised approach, placing the hi-hat wherever it sounds best within the stereo spread.
Additionally, for electronic dance music, a common technique is to pan the closed hi-hat on one side and the open hi-hat on the other, creating a nice spread and movement in the percussion. This technique also applies to shakers and bongos, where these instruments are typically panned away from the centre to achieve balance.
Ultimately, the placement of hi-hats, whether in the centre or elsewhere, depends on personal preference and the specific requirements of the song. Experimentation is key to finding the most suitable setup, and over time, drummers can adjust their playing to different setups, whether they are minimal or extensive.
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Frequently asked questions
There is no definitive answer to this, as it depends on the type of music and the desired effect. Generally, hi-hats are panned to the left or right, or hard-panned to either side. Some mixers will also choose the stereo location based on the structure of a drum kit.
Hard-panning a hi-hat to one side without balancing it with an equal or opposite element on the other side may negatively affect the stereo image of the track.
For dance/trance, it is common to pan the closed hi-hat on one side and the open hi-hat on the other. This can be done using a single stereo track or by duplicating the track and panning one to the left and one to the right.
For hip-hop and electronic tracks, hi-hats are typically panned 30-50% away from the centre.
