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I’ve been curious as to whether library composition demands, or could otherwise benefit from, a more restrictive use of panning effects than ordinary commercial mixing for album music. When I mix, I use panning very sparingly with most elements centered, but sometimes (particularly in very electronic music) I like to throw a really trippy pan effect on an element or transition, just to shake the listener up a little. Obviously, I don’t go too crazy with it, and of course I always double and triple check the final mix in mono.
Other mixing engineers, far more skilled than I, have reassured me that nothing I’m doing is problematic for album work, but I’m curious whether libraries are likely to be less tolerant of obvious stereo effects. I’ve done a search in the forums here and haven’t seen any exhortations to use minimal panning for library music, so I’m probably just being paranoid, but I’d definitely be interested to hear everyone’s thoughts on this.
but I’m curious whether libraries are likely to be less tolerant of obvious stereo effects.
I like stereo panning and I’ve never given it that much thought. I seldom check mono and have never been told it’s a problem. Then again maybe I’d be more successful if I did! I really just go with what sounds good to me with one caveat. I’m pretty anal about checking commercial releases on my system so I don’t go too far astray.
When writing directly for a production company I’ve always been coached to take advantage of panning and to keep the “interesting” stuff (melodic instruments, etc) out of the middle so as not to create competition with the dialog. The more room for dialog the louder the music can be mixed without interfering. I’ve also been told to be careful with loud drums and percussive elements due to the fact that when the music mix is turned down to make room for other elements (dialog, etc) nothing will be left of the mix but a faint snare beat. On certain shows both of these things can keep a track from getting used.
When writing directly for a production company I’ve always been coached to take advantage of panning and to keep the “interesting” stuff (melodic instruments, etc) out of the middle so as not to create competition with the dialog. The more room for dialog the louder the music can be mixed without interfering. I’ve also been told to be careful with loud drums and percussive elements due to the fact that when the music mix is turned down to make room for other elements (dialog, etc) nothing will be left of the mix but a faint snare beat. On certain shows both of these things can keep a track from getting used.
Very good point, although I try to mix for most markets with or without v/o.
http://www.mathewlane.com/DrMS.htmlI did come across this plug in which is in essence a very fancy M/S manipulator, in simple terms it separates the mid and side elements of a stereo mix and lets you do a lot to them. Could be used on a whole mix but great for synths,guitars, orchestral to get them subtly out of the centre and keep mono compatability.
Although it adds depth and space to mixes it is not a stereo widener in the traditional sense which uses delays etc. Worth a look at IMHO.
When writing directly for a production company I’ve always been coached to take advantage of panning and to keep the “interesting” stuff (melodic instruments, etc) out of the middle so as not to create competition with the dialog
That’s definitely a good thought for music meant to be talked over. thanks Kiwi!
As for the panning, I am like Art, never really thought about the impact on the perception for the biz. When I mix, I do pan, freq and then volume, in that order. The pan part is artistically based, and if I hear phase problems when checking mono, I will correct it, but usually do that while attempting to keep the first feel (i.e. the original panning).
The only caveat I heard is to be wary of extreme hard panning. Reasoning or where I heard that can’t remember. Maybe someone here can either verify that or put that rumor to rest.
hard panning could be a problem a) because people that are far away from the sweet spot will hear nothing b) more importantly, because it distracts people from what is going on on screen.
in movies sound rerecording mixers like to a have a wide stereo image for the music, to leave room for the dialogue. If the music is too monoish they’ll do whatever they can to make it wider.
so yes, make it wide, but balanced 🙂
Very interesting ideas. I never check, or do a mono mix. Since many of my tracks are basic guitar, bass, drums, keys, etc. I like to layer my guitar parts and if the track needs it I will use 3 or 4 guitars ( either acoustic or electric) sometimes more and pan those to stay out of the way of each other. Along with using EQ as well.
I Want to try to hear each part and give every instrument their space. Lead instruments always go front and center as well as drums. I always visualize my track from watching a band on stage.Orchestral tracks I pan as an orchestra would be set up. Basses and Cellos right, Violins and Violas left etc. IMHO….
BTW my average song is between 10-12 tracks total….
Been working for me so far….as always IMHO.I pan stuff to the center that conventional wisdom says should be there. The melody part usually (in my case often guitar); Kick; Bass. Not chasing the orchestral thing yet, if ever. My stuff is generally drums /guitar /bass/ keys and whatever synth or samples the track calls for.
Anyone here into “LCR” panning as a rule?
No, but it looks like something fun to try. Are you a fan?
Well now you’ve done it, just spent an hour researching LCR. Interesting concept. Now I’ve got something else to obsess about in my mixes! Ha, thanks for the discussion. I’m definitely going to try it. I have been told in the past by a library to NOT pan hard right and left, so there’s that. I also have started to make a small “donut” in the middle for dialogue for TV stuff. Lead and melody instruments, just a little off center, but still close to the middle.
I guess I’m old school as I have always used the full spectrum of LCR when mixing (once there were machines with enough tracks to allow it). Just the way I was raised! 🙂
@Michael Nickolas I am digging this approach. I’m getting pretty good mono compatibility
as well, as long as I’m not dealing with a million tracks.
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