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Yes, audio panning is about moving sounds left and right in the stereo
field when you produce and mix music. There's a bit more to it than just
that, as you probably can imagine...
Plan to Pan...
Like basic level balancing, audio panning often gets overlooked in mixing
discussions. EQ and compression, as you probably know by now, always tend
to take the limelight.
It's a good idea to do audio panning before you EQ, compress, set levels and
apply effects as all these processes will be affected by your panning decisions.
If yes for either question... ...leave dead center and even consider keeping it
fully mono. This is why pop vocals, dance kicks, basses and snares tend to end
up in the middle of the mix. They lead or drive the song so hard center
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straight down the middle panning makes sense. Equal energy from both
speakers at all times.
In more traditional band-style mixing, like rock for example, panning is often
used in way that mimics a live show’s sound from either the audience or stage
perspective. Kick, bass, snare, vocal center. Guitars and keys off to the left
and right. Overheads spread out nicely. You get the picture. ;-)
Panning choices are of course highly subjective but there is a basic formula of
sorts that most modern mixes will adhere to:
The rest of the elements or instruments is where it gets more subjective and
where you can also get more creative with your panning, although there are
still some tried and true methods you can use:
Some mixing engineers and producers like to stick to only three pan positions.
They set every channel to center, hard left or hard right and nothing in
between.
Drums, apart from snare and kick, are usually panned as they
would appear on a drum kit, either from the drummers point of view,
with the hi-hat and left overhead off to the left and toms and right overheads
spread out to the right of the spectrum, or from the audience's point of view
with everything switched around. This type of panning isn't as common in
EDM, dance or electronic genres as it is in rock and some pop.
Guitars, keys, synths and backing vocals are usually best off-center ,
either hard left or right or somewhere in between. These elements along with
some of your drums and your effects are what you'll use to create width in
your mix.
It pays to spend time getting familiar with the different instruments and
sounds in your mix and experimenting with different pan relationships
because each mix is different and how you pan will play a vital role in the
result you get with your final mix.
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Audio panning
can of course
be used more
creatively with
the application
of automation
and effects like
auto-panners
which you can
start delving
into when you
get the basics
of static
panning down.
These applications fall beyond the scope of this basic introduction so for now
just get the basics down and delve into more hardcore panning techniques
when the time is right.
Read "The Art of Mixing" by David Gibson. It's a bit of an old one, but it
remains a great way to help you visualize what you're aiming for when you
position sounds during mix down.
A pan pot takes the incoming signal and splits it into a left and right channel.
It then assigns a dedicated volume control to each channel which allows it to
determine individually the amount of signal going to the left and right buses.
A pan pot set to zero (0) or center (C) will divide the signal equally between
the left and right channel. A pan pot set completely to the left will send the
signal entirely to the left channel and vice-versa. You'll often hear these
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positions referred to as hard left or hard right. You can of course as well set
the pot or slider anywhere in between hard left and hard right.
Panning is however used in many more ways in music. It’s a crucial part of
sound design. It can be also be used to create a stereo effect from mono
sounds with production techniques which utilize psychoacoustic production
tricks like the Precedence (a.k.a. Haas) effect.
Spend some time in each mix just to explore different panning combinations.
In other words, don’t just settle for your first choice. What happens if you
switch the left and right synth parts? How about bringing them both closer to
the center? Does the snare work better dead-center or just off-center? Try out
different combinations to discover what serves the song best.
2. Move Fast
Spend time with your pan pot as suggested in point 1 above but move fast and
with a bit of aggression when you pan. In other words, try different
combinations but don’t fret over minuscule position tweaks and get bogged
down, especially at the start of your mix when flow is important for
momentum.
You can, for example, in some cases avoid the EQ plugin with just a few simple
pan moves.
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Two instruments that fight for the same space can be moved to different
spaces. Problem solved, no need for EQ!
Audio panning may not always be the best solution for frequency clashes, but
it's a good option to consider.
4. Pan First
Audio panning affects both EQ and levels so it’s a good idea to start your mix
with panning.
Once you have your positions roughly sorted it becomes much easier to set
levels and dial in EQ, processing and other effects.
Still on EQ and panning… It’s often good to keep your side image cleaner by
leaving your low-end focused in the middle of your stereo field. Pay attention
to this when you design your own synth patches too.
Lower octave oscillators tend to work better in mono or closer to center where
higher octave sounds can more easily sit further left and right in your mix.
Think upside down pyramid:
Mid-side
effects and
processors can
be helpful for
getting the
image right.
Voxengo
MSED is a
decent free
tool for M/S
level and pan control. Modern EQ plugins like Fabfilter, Isotope Ozone and
others allow you to EQ only the mids or the sides or both. This means you can
chuck a filter on only the mid or only the side signals and control each
individually.
6. Pan Effects
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Don’t forget to pan your effects. One tried-and-tested trick is to balance out an
instrument or sound in the one speaker with a delay of the same slightly
modulated sound in the opposite position.
A hi-hat panned hard-left with a send to a delay of a few milliseconds, say 8ms
that’s panned hard right becomes spread out across the entire stereo field.
Play around with longer delay times and other instruments too.
You could add just a slight bit more complexity to the LCR technique if you
panned to a position between left and center and also between right and
center. So, that means you always pan to one of five positions: Hard Left, 60%
Left, Center, 60% Right and Hard Right.
Your hard-right could be slightly less hard-right at 90%. Same for hard-left.
Make it a softer type of hard-left to see if it helps keeps your mix together
better.
Pan law states that, when you have two identical signals, with the exact same
phase and amplitude, coming from your left and right speakers at the same
time you will perceive an increase of 6dB SPL in the signal level.
The pan law setting in your DAW project setup area allows you to compensate
for the above phenomenon. In most cases you'd probably work with pan law
set to -3dB or -4.5dB. You will be able to choose other standards such as 0dB
which has no compensation or -6dB compensation.
There will be times when your stereo mix gets played back in mono. The left
and right channels will be summed into a single mono channel. The pan law
setting you work at will affect the relationship in terms of level between your
stereo sounds when played back in mono.
You may choose to move a sound from left to right in your stereo field through
automation of your pan pot or slider. You will, without any compensation
applied, perceive a increase in level as the sound passes through the center
pan position. Pan law compensation allows you to keep the level more
constant as it journeys left or right in your stereo field during automation.
General guidelines...
1. Set your pan law compensation before you start to work and stick with it.
Changing the pan law later on will force you to re-do your entire mix
which is no fun thing.
2. In most cases it's probably best to work at -3dB or -4.5dB. You'll be safe
as this is the middle-ground between no compensation on the 0dB
setting and more extreme compensation at -6dB.
I will leave the subject there as I think this covers the 20% you need to know
when start producing. This video below will give you a more visual
explanation of pan law, with examples:
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Watch Video At:
https://youtu.be/vMgCSGI45Cw
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