Panning with Drum Samples
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Panning with Drum Samples

Sequencing drum samples are crucial, but of the same high importance is washing drum samples for palatability in a music scene where packing instrument upon endless instrument is becoming the trade of many seasoned producers and amateurs.

Panning is, after volume, the most obvious step in the mixing process. Mixing can be extremely complicated to master, in particular through the beat making process, but when starting to go into the hang of things, it does become easier with time.

At its essence, planning is distributing the volume of an instrument over the stereo field decisively. It is possible to pan an instrument or drum visit site samples 'hard' (all the way) to the left or the right, meaning that the reverse channel no longer contains any information about that instrument or sample loop. You can also pan slightly or moderately to both sides of the stereo field, which is the most common approach to the pan.

You would wash drum samples to ensure each has their space! For instance, the snare and kick could be in the center (I Will explain to you soon why you must not pan these), the center being 50% on each channel, while supporting drum samples, such as the hi-hat and another rhythmic percussion, could be planned with different degrees of intensity on either side, left or right.

Why is it important in many cases to leave the kicks and snares in the center field, unchanged? Well, that is because if you're making pop, hip-hop, RnB or rock music that you only think might one day play in clubs or get popular, and want them to offer the best sound on all platforms, the center channel must contain the bulk of the main instruments. This is particularly the case of club music situations. You can see how this could be devastating. That is why it's best only to push non-essential or supporting instruments to the sides.

The frequency of drum samples can also play a large part in the way that you might want to spread out the different sounds. For instance, a cymbal that occurs once every four bars may be moved all the method to the right of the stereo field as it does not often occur, leaving room for instruments that are more active. It could also be the other way, though, with familiar sounds occupying the far-reach corners of the stereo spectrum and gaps being left without any drum sounds for creative effect.