Tiffany Haney
Drum panning is an essential tool for any producer looking to achieve a top-quality drum sound. The goal is to create a balanced sound that doesn't lean too heavily to either side of the mix, as this can be disorienting for the listener. The kick drum is typically placed in the centre of the stereo image, providing a foundation for the mix, and the snare drum is usually also panned to the centre, though sometimes it's placed slightly off-centre. The positioning of the snare can be adjusted to create more variance in the stereo image and give the snare more room to breathe in the mix. In rock music, a dominant and crispy snare sound is achieved by not cutting the 2000Hz–3000Hz frequency range. However, this can drown out vocal frequencies in music with vocals.
| Characteristics | Values |
|---|---|
| Panning style | Drummer's perspective or audience's perspective |
| Snare panning position | Center or slightly off-center |
| Panning angle | +/-20% either left or right (between 11:00 and 1:00) |
| Overhead mics | Hard left and right |
| Tom fills | Panned 20-50% to the left and right |
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What You'll Learn
The snare drum should be panned to the centre
The snare drum is a foundational element of a song's rhythmic groove, working in tandem with the kick drum. For this reason, it is most often panned to the centre of the stereo image, with the kick drum, to ensure the mix sounds balanced between the left and right channels.
There are a few different approaches to panning drums and percussion, but the goal is to achieve a balanced sound that doesn't lean too heavily to either side of the mix. Panning drums helps the listener to localise sound, and carelessly panned drums can be disorienting.
In most popular genres, it is commonplace to pan up the middle. However, there are a few options with snare panning. Some engineers prefer to have the snare dead centre, while others prefer to have it slightly off-centre, creating more variance between the stereo image of the kick and snare. If you choose the latter option, it is recommended to not go beyond +/-20% left or right (between 11:00 and 1:00).
It is important to note that different DAWs treat panning units differently. Some use percentages, while others use numbers that don't go up to 100 on either side. For example, in Ableton Live, "50" represents an extreme pan on either side, with "0" being the centre.
Additionally, when tracking live drums, it is common to pan the drums to the drummer's perspective or mono, and then switch to the audience perspective when mixing.
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The kick drum should be panned to the centre
The kick drum is the heartbeat of the drum kit. It provides the pulse that underpins everything else in the mix. As such, the kick drum is usually kept at the centre of the stereo image. This is because moving the sonic weight of the kick drum to either the left or right can make the whole mix feel lopsided.
There are, of course, exceptions to this rule. In certain fringe genres, it is not uncommon to find the kick drum off-centre. In electronic music, for example, you can get away with almost anything as long as it doesn't confuse the listener and the mix remains balanced. In this context, having two different kick drum samples hard-panned might be an interesting effect.
However, in most popular genres, the kick drum will be found at the centre of the stereo image. This is because, no matter the genre, an active stereo image keeps the listener engaged, puts them in the same sonic space as the performer, and adds energy to the mix. Keeping heavier or key elements in the centre, such as the kick drum, will help ensure your mix sounds balanced between the left and right channels while also giving cymbals and hi-hats room to sparkle on the sides.
There are a few different ways to pan drums and percussion, but ultimately the goal is a balanced sound that doesn't lean too heavily to either the left or right side of a mix. Panning drums helps the listener to localise sound, and carelessly panned drums can be very disorienting.
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The drummer's perspective vs. the audience's perspective
The drummer's perspective involves panning the drums to match the physical setup of the drum kit. This means that the different mics for a kit piece are panned to the same position, as the sound of a drum is not heard from one side of the room or the other. The goal is to achieve a balanced sound that doesn't lean too heavily to either side of the mix. This is especially important for the kick and snare drums, which form the foundation of the rhythmic groove of a song and are usually panned right in the centre. However, the snare can sometimes be panned slightly off-centre to agree with the overhead mics and give it more room to breathe in the mix.
From the drummer's perspective, the hi-hat can be panned to the left, and tom fills can be panned to the sides to add stereo spread. This creates a more interesting stereo image and makes the drums sound full and wide, as if the listener is in the room with the drummer.
On the other hand, the audience's perspective involves panning the drums as if someone is facing the drummer while watching them play. This can mean panning the hi-hat to the right, which can be disorienting for some listeners, especially drummers who are used to hearing the drums from their own perspective.
Ultimately, the decision to pan from the drummer's or audience's perspective comes down to personal preference and the desired aesthetic. In most popular genres, it is commonplace to pan up the middle, but there are exceptions, especially in fringe genres. Additionally, in electronic music, more creative panning choices can be made without confusing the listener.
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Using the clock face technique
Panning drums is an essential tool for any producer aiming for a top-quality drum sound. The goal is to achieve a balanced sound that doesn't lean too heavily to either the left or right side of a mix.
The clock face technique is a useful analogy for balancing snare panning. In this technique, the panning dial is set at different positions on the clock face, with 12:00 being dead centre, 7:00 and 5:00 being hard left and hard right, and so on. Using this technique, you can adjust the panning of your snare drum to find the ideal balance in your mix.
For example, some engineers prefer to keep the snare drum panned dead centre (12:00) in the stereo image. This is especially common in genres like rock and pop, where a balanced and natural-sounding mix is often desired. However, others prefer to pan the snare slightly off-centre (between 11:00 and 1:00) to create more variance between the stereo image of the kick and snare drums. This can give the snare more room to breathe and prevent it from fighting for space with other instruments in the mix.
When panning your snare, it's important to consider the placement of your overhead mics. The overhead mic above the snare is typically panned 50% right (4:00) for an ideal balance. It's crucial not to pan it too far right, as this can cause the snare sound to become unbalanced. The second overhead microphone, placed near the floor tom, is usually panned to the far left (9:00 or 3:00) to secure extra depth and a finer stereo image.
Additionally, it's worth noting that while panning can be experimental and creative, it's important to consider mono listeners. Avoid panning all the way to the left or right, as elements panned to the extremes may disappear when played through a mono source or a broken speaker in a stereo environment. Some engineers recommend never going beyond 90% in either direction to ensure the mix remains balanced in mono.
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The importance of recording levels
Recording levels are also important when it comes to individual instruments, such as the snare drum. The snare drum is one of the most commanding sounds in modern mixes, but it is also prone to becoming sharp with careless processing. It takes a lot of practice to get a snare mix right. To achieve a good-sounding snare in the mix, it is important to ensure that it is recorded properly. This means avoiding clipping or distortion, which can result in irreversible damage to the recording. It also means avoiding extreme or disturbing bleeding noises from other drum instruments. Finally, it is important to record the snare at a reasonable sounding level with dynamics.
Additionally, proper gain staging is necessary to ensure optimum recording levels. If using snare drum samples instead of recording from an actual drum kit, it is crucial to work with high-resolution audio samples. This ensures that the snare drum sounds clear and distinct in the mix.
Overall, paying close attention to recording levels is crucial for achieving a professional and polished sound. It ensures that the various elements of a song are balanced and complement each other effectively, resulting in a cohesive and enjoyable listening experience.
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Frequently asked questions
The best way to balance a snare panning is to keep the snare and kick drum at the centre of the sonic mix. This is known as the "centreline".
The clock face technique is a way to visualise the panning of drums. The snare and kick are at 12 o'clock, 9 o'clock is 100% left, 3 o'clock is 100% right, 10 and 2 o'clock are roughly 66% left and right, and 11 and 1 o'clock are 33% left and right.
The Abbey Road Reverb Trick is a way of keeping the reverb clean so that it doesn't muddy up your mix. This is useful when panning the snare left or right, as it frees up space in the middle for the kick and snare.
The Glyn Johns method is a recording technique that only requires four mics: kick, snare, and a pair of overhead mics. When it comes to panning, the kick and snare go to the centre, and the mic above the snare is panned 50% right for balance.
In rock music, the snare drum is commonly hit hard, so you need to implement proper gain staging to ensure optimum recording levels. You can also use a parametric equaliser to create a "dominant and crispy snare sound".
