Tiffany Haney
Panning toms in a metal album can be done in a variety of ways, depending on the desired result. The pan pot (panoramic potentiometer) controls the volume and distribution of audio signals in the left and right channels of a stereo field. The general rock standard is to pan the kick and snare centre, the toms left to right from high to low, and the hat 50% left with overheads panned L&R 100%. However, some prefer to pan the toms slightly, almost mono, to keep the drums centre-channelled and enhance their depth. The audience perspective and drummer's perspective are two common approaches, with the former being more popular among engineers. The audience perspective involves panning the drums as if the listener is facing the drummer, while the drummer's perspective involves panning as if the listener is the drummer.
Characteristics of Panning Toms in a Metal Album
| Characteristics | Values |
|---|---|
| Panning Perspective | Drummer's perspective or Audience perspective |
| Drummer's Perspective | Mixed as if sitting behind the kit (right-handed): Hats on the left, floor tom on the right |
| Audience Perspective | Mixed as if standing in front of the drums: Hats on the right |
| Number of Toms | 2 or 3 |
| Panning Direction | From high to low, left to right |
| Panning Angle | 50% left or right for the floor tom, less than 20% on each side for the rack toms |
| Panning Technique | Listen to the overheads and pan the spot mics where you hear the corresponding tom |
| Stereo Image | Wide or less open |
| Mono vs Stereo | Mono drums can enhance depth and keep the drums "center-channeled" |
| Other Techniques | Pan the overhead mics hard left and right, then listen and pan the individual drums to match |
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What You'll Learn
Panning from the drummer's perspective
There is no definitive rule for panning drums and it often comes down to personal preference. However, there are some standard practices and considerations to keep in mind when panning from a drummer's perspective.
The "rock" standard for panning drums is to place the kick and snare in the centre, with the toms going from left to right, from high to low, and the hat at 50% left. Overheads are usually panned at 100% left and right. This setup can be reversed for an audience perspective.
Some engineers prefer to vary their drum panning based on the desired sonic portrait. For instance, if you want the listener to feel like they are in the middle of the band, a drummer's perspective might be more suitable. On the other hand, if you want to create a soundscape where the listener is at a distance from the band, an audience perspective might work better.
It's worth noting that most modern records are mixed from a drummer's perspective, while live albums often use an audience perspective to match the video footage of the concert. Additionally, some engineers choose to pan drums based on how they look through the control room window, resulting in an audience perspective.
When it comes to the number of toms, in a typical 2 tom and 1 floor tom setup, the panning can be adjusted accordingly. For example, Tom 1 at 65, Tom 2 at 50 left, and Tom 3 at 70 right. If the drummer uses all 3 toms in one fill, the panning can be changed to 65 left, centre, and 70 right to create a stereo image.
Ultimately, there is no right or wrong answer, and you can experiment with different panning techniques to find what works best for the specific song or album.
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Panning from the audience's perspective
Panning is a technique in music production that involves controlling where the sound is coming from. It is done by sending an existing mono or stereo track through the left and right channels in a stereo field. This allows certain instruments to be pulled out of the "center" to draw more attention to them.
When it comes to panning from the audience's perspective, the general approach is to mix the drums as if you are standing in front of them. This means that the hi-hat would typically be on the right and the ride cymbal on the left, with the toms going from high to low, or right to left. This is the opposite of how a drummer would set up their kit, with the hi-hat usually on the left.
Some sound engineers prefer to pan the drums from the audience's perspective, as it can provide a more immersive experience for the listener. It can also be useful when mixing metal to add some variety to the mix. By panning the drums from the audience's perspective, the mix can sound wider and more dynamic.
However, there are no hard and fast rules when it comes to panning. Some engineers may choose to pan the drums from the drummer's perspective, with the hi-hat on the left and the toms going from left to right. Ultimately, the decision of how to pan the drums depends on the desired effect and the specific mix.
Additionally, the panning of the drums can be adjusted based on the number of toms and the overall width of the drum setup. For example, in a typical 2 tom and 1 floor tom setup, the toms can be panned at 65 left, 50 right, and 70 right, respectively. The panning can also be adjusted when the drummer uses all 3 toms in one fill, such as panning them at 65 left, center, and 70 right.
It's worth noting that while panning from the audience's perspective can create a more immersive and dynamic mix, some musicians, especially drummers, may not prefer this approach as it feels wrong to them.
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Mono panning
Panning mono in a metal album is a complex process that requires careful consideration of various factors. Here are some detailed instructions and tips for achieving effective mono panning for toms in a metal album:
Understanding Mono Panning
Determining the Panning Scheme
The first step in mono panning toms is deciding on a panning scheme. This involves determining the placement of each tom in the stereo image. The most common approach is to pan toms from high to low, which typically translates to panning them from left to right. This creates a sense of movement and depth in the mix.
Adjusting Pan Positions
When panning toms, it's important to adjust the pan positions based on the number of toms and the desired width of the drums in the mix. For example, in a typical 2 tom and 1 floor tom setup, you might pan Tom 1 at 65 left, Tom 2 at 50 left, and Tom 3 at 70 right. Adjust the panning positions to ensure a balanced and cohesive sound image.
Considering the Audience Perspective
Another factor to consider is the audience perspective. Some engineers prefer to pan drums from the audience's perspective, placing the hi-hat on the right and the ride cymbal on the left, with toms going from high to low from right to left. This approach creates a more natural and intuitive feel for the listener.
Using Spot Mics for Precise Panning
To achieve precise panning for each tom, use spot mics and listen to your overheads. Pan the spot mics to match the position of the corresponding toms in the stereo field. This ensures that each tom is accurately represented in the mix and enhances the overall clarity of the drum sound.
Maintaining Mono Compatibility
It's important to ensure that your mix remains effective when played back in mono. Many playback systems in clubs and other venues are mono or functionally mono due to how sound travels in large spaces. Always check your mix in mono to ensure that you're not losing important elements or creating phase issues.
Combining Mono with Stereo Elements
While mono panning can provide focus and depth, combining it with stereo elements can add interest and width to your mix. Consider using stereo room mics or stereo reverb on the toms to create a sense of space and dimension while maintaining the clarity and impact of mono panning.
In conclusion, mono panning toms in a metal album requires a thoughtful approach that considers panning schemes, audience perspective, precise mic placement, and mono compatibility. By following these instructions and tips, you can achieve a powerful and immersive drum sound that complements the intensity of metal music.
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Stereo panning
In a typical stereo setup, the left and right channels are balanced. Panning allows you to adjust this balance, turning one channel up while turning the other down. This is known as stereo balancing or stereo width enhancement. In true stereo panning, both channels move in the specified direction, rather than simply adjusting their relative volumes.
When panning drums, you can choose to do it from the drummer's perspective or the audience's perspective. The drummer's perspective involves placing the hats on the left and the floor tom on the right, as if you're sitting behind the drum kit. The audience perspective flips this, placing the hats on the right and the toms from high to low, right to left. Some people prefer the drummer's perspective as it matches the traditional rock standard, while others find the audience perspective more immersive.
When panning toms specifically, you can experiment with different positions. Some people prefer to pan the toms slightly to the left and right, keeping them closer to the centre, while others go for a wider sound by panning them further to the sides. You can also try panning the highest-pitched tom hard left, the middle-pitched tom slightly off-centre, and the floor tom hard right. This creates a sense of depth and height in your mix.
Additionally, you can use stereo panning to create interesting effects. For example, panning the drums from the audience perspective while keeping the cymbals in the drummer's perspective can catch the listener's attention. Playing with mono and stereo panning can also add texture and pump to the overall sound. Ultimately, there are no hard and fast rules in stereo panning. Experimentation and finding the right balance are crucial to achieving the desired sound for your metal album.
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Using spot mics
When it comes to microphone selection and placement for metal albums, there are no specific rules for the snare, hi-hats, cymbals, and toms. Any of the usual close-miking options are possible. However, it is important to ensure that the spot mics provide everything needed, especially if you don't plan on using tom samples.
To achieve a good stereo effect during fills, it is recommended to pan the spot mics where you hear the corresponding toms in your overheads. This means that if your overheads are panned hard left and right, you would pan the tom spot mics to match where you hear them in the overheads. This ensures congruence in panning and phase between all close and ambient mics.
If you want more body to your toms, consider miking the tom resonators in addition to the batter heads. You can also use a large-diaphragm dynamic mic, such as a D112 or RE20, on the floor tom for a fuller sound.
Additionally, when using spot mics, it is important to avoid unwanted rings in the toms, as these can be easily picked up by the mics in the studio. Products like 'Moon Gel' can help dampen these unwanted rings while providing the desired degree of damping.
When it comes to the overall sound of the drums, some producers and engineers avoid using ambient room mics as they believe they do not fit with the tight, well-defined sound of metal. However, others have found ways to use ambient mics effectively by processing and gating them in a specific way after time-aligning them with the spot mics. This can add a great deal to the snare, kick, and overall sound of the drums.
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Frequently asked questions
You can pan drums from two perspectives: the drummer's perspective and the audience's perspective. The drummer's perspective is mixed as if you are sitting behind the kit (right-handed), with hats on the left and the floor tom on the right. The audience's perspective is mixed as if you are standing in front of the drums, with hats on the right.
The kick drum usually stays in the centre of the sound, so it does not require panning. The toms, cymbals and other percussion instruments should be panned on either side of the stereo image, depending on the result you want. The general "rock" standard is to pan the toms from left to right, from high to low.
If you have multiple toms, you can pan the floor tom 50% to the left or right, and the two rack toms by less than 20% on each side. This will give you a great stereo effect during fills.
The best way to pan toms is to listen to your overheads and pan the spot mics where you hear the corresponding tom.
