Cody Casey
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What You'll Learn
Panning drums to create width and fullness
Panning drums can create width and fullness in your mix. There are two approaches to panning drums: from the audience's perspective or the drummer's perspective. The audience's perspective involves panning the drums as if you were watching the drummer perform. The drummer's perspective involves panning the drums as if you were the drummer playing the kit.
When panning drums, you can use either hard panning or soft panning. Hard panning refers to panning an instrument 100% to the left or right, while soft panning involves moving elements out of the center without fully committing to a hard pan. For example, when panning from the drummer's perspective, you would place the kick and snare in the center, then move the hi-hat slightly to the left, and each tom progressively more to the right. When panning from the audience's perspective, this direction is reversed.
To create a sense of width and fullness, you can try panning the overhead mics hard left and right, giving you the widest possible spread. This technique works well when editing a drum cover, as you may want to fill up the room in the stereo field for a fuller, broader sound. Additionally, you can split your tom sounds into separate channels and pan them differently to create an organic movement in your groove.
It's important to note that there are no definitive rules in mixing and music production. The best approach may depend on the type of music you are creating. For example, smaller, more intimate music can benefit from wider toms, while big modern rock songs may require a more centered kit to make room for guitars and vocals. Ultimately, it's down to personal preference, and you should experiment to find the sound that works best for your mix.
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Stereo placement and the LCR method
When it comes to panning toms, there are a few different approaches you can take. One common method is to pan the drums from the audience's perspective, with the hi-hat on the right, the ride cymbal on the left, and the toms from high to low, going from right to left. This creates a stereo effect that makes the drums sound wider and more open. Another approach is to pan the drums from the drummer's perspective, which can be more intuitive for some people, especially left-handed drummers.
Now, let's talk about stereo placement and the LCR method. LCR stands for Left-Center-Right and is a panning technique that simplifies the mixing process by restricting the placement of audio elements to only three positions: left, center, and right. This method is often used in rock and pop music to create punchy and well-defined mixes. It also helps to emphasize the lead vocal track, which is typically placed in the center.
To set up LCR stereo placement, you need to first find the primary listening position, which is the optimal spot for sound reception. This is usually at ear height or within 15 degrees of the plane cut by the seated ear height. Once you've determined this position, you can place the left, center, and right speakers accordingly, making sure they are angled to cover the entire listening position. The speakers should be identical models that are tonally matched to ensure consistent sound reproduction.
When using the LCR method, kick, snare, bass, and lead vocals are typically panned to the center, while stereo track pairs and other stereo elements are panned hard left or right. This technique provides a clear and focused soundstage, making it easier to decide where each element sits in the stereo field. It also minimizes phase issues and enhances the clarity of individual tracks. However, it may result in a lack of nuance and subtlety in spatial positioning, so it may not be suitable for all projects.
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Panning from the drummer's perspective
Panning is a technique used to create width, fullness, and a sense of direction in a mix. When it comes to panning toms from a drummer's perspective, there are a few approaches you can take.
One common method is to pan the toms from high to low, which corresponds to left to right. This means that the high tom would be panned to the left, and the low tom would be panned to the right. This approach is similar to reading a book, with the high tom on the left serving as the starting point and the low tom on the right as the ending point. It also aligns with the traditional orchestra setup, where the high instruments are on the left and the low instruments are on the right.
Another approach to panning toms is to use the overhead mics as a guide. Start by panning the overhead mics hard left and right, then close your eyes and listen to where you can visualise the drums in front of you. Match the panning of the individual toms to their positions in the overhead mics. This ensures that the panning accurately represents the physical setup of the drum kit.
It's worth noting that panning from the drummer's perspective can result in a different experience for the audience. While the drummer hears the kit as intended, the audience may perceive the drums as a mono source, especially in a live setting. This is something to consider when deciding on the panning approach.
Additionally, it's important to maintain a healthy balance when panning. Avoid panning elements completely left or right, as they may disappear when played back on a mono source or if one speaker is broken. Instead, aim for a balanced distribution across the stereo spectrum. For example, you can pan one element 40% to the right and another 35% to the left to create a natural and spacious sound.
Experimentation is key when it comes to panning. Feel free to play with the settings and listen to different mixes to determine what sounds best to you. You can also refer to visual guides and YouTube videos that demonstrate various panning techniques for drums. Ultimately, the choice of panning perspective depends on your artistic vision and the desired listening experience for your audience.
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Panning from the audience's perspective
Panning drums is a great way to create width, fullness and a natural stereo effect. There are two main ways to pan drums: from the drummer's perspective or from the audience's perspective. This answer will focus on the latter.
When panning from the audience's perspective, it is important to picture someone facing you while watching you play, and then pan your kit from their perspective. This means that the Hi-Hat will typically be on the right, the ride cymbal on the left, and the toms from high to low, or right to left. This is the opposite of how the drummer themselves will hear the kit, but it creates a more natural sound for the listener.
It is worth noting that some people argue that the audience perspective is essentially mono, and that panning the drums using the LCR method can give them an artificial sense of width, making them sound unnatural and introducing phase issues. However, others disagree, stating that good panning will make listening to the drums feel like you're actually there in the room.
To achieve a natural sound when panning from the audience's perspective, it is important to start by getting a good balance with your overheads and mic placement. Once you have a natural stereo image and minimal phase issues, you can begin to bring in the close mics, starting with the kick right down the centre. Bring it up until it starts to peak out, and then pull it back slightly. The close mics provide definition and clarity to your kit, while the overheads are the star of the show.
When panning the toms specifically, it is important to pay attention to your overhead mics and where the toms appear in your left and right OH mics. If you pan the toms differently to where they appear in these mics, it will sound messy and confusing to the listener. Instead, pan your overhead mics hard left and right, close your eyes, and listen to where you can picture the drums in front of you. Then, pan the individual drums to match where they are in the overheads.
Additionally, when panning from the audience's perspective, it is important to maintain a 'healthy' balance. This means not panning everything too far to one side, as it can make your track sound unbalanced. For example, if you pan something a little to the right, you should pan something else a little to the left to create a balanced stereo image.
Overall, panning from the audience's perspective can be a great way to create a natural and immersive sound for your drums, making the listener feel like they are right there in the room with you.
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Using overheads to guide panning
When it comes to panning toms, there are a few different approaches you can take. The first step is to decide on the perspective you will be panning from. This can be either the drummer's perspective or the audience perspective.
Drummer's Perspective vs. 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 usually means the hi-hat will be on the left and the floor tom on the right. The audience perspective is the exact opposite, where you imagine the kit from the viewpoint of the audience in front of the drum kit. In this case, the hi-hat will be on the right and the floor tom on the left. Most mixers tend to use the audience perspective when mixing, but there are no hard and fast rules, and you can choose whichever perspective you prefer.
Once you have decided on the perspective, you can start to use your overhead mics to guide your panning. Start by panning your overhead mics hard left and right (as far left and right as they go). Close your eyes and listen to the placement of the drums in front of you. Then, pan the individual drums to match their position in the overheads. This technique ensures that your close mics and overheads are in agreement, creating a clean and balanced sound for the listener.
It is important to note that if you pan your snare or toms differently from where they appear in your left and right OH mics, it may sound messy and confusing. Playing with space and perspective can add drama to your mix, but always strive to keep the listener interested and not disoriented.
Additionally, when panning toms, you may want to create a stereo effect. You can do this by panning the floor tom more than 50% to either the left or right, depending on your chosen perspective. Then, pan the rack toms on either side of the snare, followed by the middle tom on the same side as the floor tom. Finally, pan the high tom by less than 20% on the opposite side. This will result in a cool stereo effect during fills.
In conclusion, using overheads to guide panning involves matching the placement of your individual drums to their position in the overhead mics. This technique ensures a clean and balanced sound that localizes the drums for the listener, creating an immersive experience as if they are in the room with the drum kit.
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Frequently asked questions
Panning is a technique used to create width and fullness in a mix. It involves adjusting the placement of sounds in a stereo image, making it feel like you're in the room with the drums.
Start by mixing the overheads with mic placement to achieve a natural stereo image and minimal phase issues. Then, bring in close mics, starting with the kick in the centre, followed by the snare. Finally, pan the toms to match their placement in the overheads. You can also experiment with different panning positions for a more spacious sound.
There are differing opinions on this. Some people prefer the audience perspective, panning the toms from high to low and right to left. Others argue that the drummer's perspective makes more sense, especially for left-handed drummers, as it matches the actual setup of the drum kit. Ultimately, it's a matter of personal preference and the specific requirements of the mix.
A healthy balance in panning means not going too far left or right with your pan settings. Maintain a balance between the left and right sides of the stereo spectrum to create a natural and spacious sound.
One common mistake is not paying attention to the overhead mics and the stereo image they create. Panning toms differently from their placement in the overheads can result in a messy and confusing sound. Additionally, be cautious when panning elements completely left or right, as they may disappear when played back on a mono source or with a broken speaker.
