Hi peeps,
 
A quick and simple question...
 
When setting the stereo position of a traditional drum kit, do you prefer to use the drummers or listeners perspective?
 
I must admit that I've always gone for the listeners perspective, but I've just noticed, while experimenting with BFDeco, that there is an option for drummers perspective that is selected by default (at least on the kit that I have just selected).
 
cheers
 
andy

I think in the total scheme of things in a busy complex mix the real answer is it does not really make a lot of difference.  But yes I like the audience perspective as well.  And I am a drummer and I am hearing stuff all the time from the drummer’s perspective but when mixing I tend to go back to audience.
 
To me there are other more important issues like suppose you mic the drums overheads with an AB spaced pair for example.  You don't necessarily have to pan those mics hard L and hard R either.  Sometimes I might move the whole stereo drum sound to the left slightly like in a Jazz situation.
 
I have just mixed a Jazz tune with a trio and the drums are leaning towards one side,  (eg panned from C to L) the piano to the other  (panned C to R)  and the bass in the middle.  That sort of stuff is actually more important in a way than the perspective.  And it has much more effect or is much more noticeable.

Hi Jeff,
 
Thanks for your reply, I appreciate that 
 

Jeff Evans
I have just mixed a Jazz tune with a trio and the drums are leaning towards one side,  (eg panned from C to L) the piano to the other  (panned C to R)  and the bass in the middle.  That sort of stuff is actually more important in a way than the perspective.  And it has much more effect or is much more noticeable.

Interesting, and I wouldn't have thought of that.
 
I guess that, for much of what I do, a typical "standard" balance across the stereo image would do, but I'll certainly consider what you have said there 
 
Plus, I will never have the luxury of working with a real drummer any more. Battery and BFDeco are my only drumming friends... They do have mic'ing "options" but I've never explored them to be honest, opting to use whatever is set up within the VSTi when I load it. I guess I should look more deeply into that.
 
What I do do with my drum VSTi's though, is I set up an audio track for each percussion element and then route them to a separate drum bus. I have settled on the idea that it's easier to set the panning within the VSTi but I set the levels via the track faders, after I have maxed the levels within the VSTi. I then set the overall drums level in the "song" via the drum bus. I can then also apply EQ to each element as needed, but I digress (onto another much more complicated topic).
 
cheers
 
andy

I'd agree with Jeff, that it's a trivial distinction most of the time. Unless you're recording Neil Peart, it mostly comes down to which 5% off center the hats are panned. I'm more concerned about what I'm going to put on the opposite side to balance them out.
 

bitflipper
that it's a trivial distinction most of the time.

Hi Dave,
 
Yeah, I understand that bit... I was just wondering about the option in BFDeco to flip the stereo perspective and I thought I'd ask what the experts think. I'll stick with what I'm doing as far as panning goes.
 
Like you and Jeff say, there are more important considerations in the grand scheme of things 
 
cheers
 
andy

this is strictly a mix decision.
 
and how you miced the kit up.
 
if your phase was correct when micing, say, the overheads,
you will want to maintain that phase relationship in the mix.
 
otherwise,
you can do anything you want.
 
go dramatic, or go purist.

batsbrew
if your phase was correct when micing, say, the overheads,
you will want to maintain that phase relationship in the mix.

 
Hi Rob,
 
I'm not tracking drums here, just using a VSTi I'm afraid 
 
But I'm glad you mentioned that because BFDeco has an overhead mic. I checked what happens when the "perspective" is changed from one setting to the other and it also changes it for the OH mic, so all is good.
 
thanks 

1) I personally think for the type of music you do you shouldn't get too worried about such things. Unless you are moving into the territory of emulating live band performances then, as the other guys said, do whatever gets you the best results. I think a lot of electronic music doesn't really rely on "true" drum kit type sound.
 
2) However... I prefer audience perspective as well for final mix when doing my "live band" type stuff because, well in theory that's what an audience would here if they were swatching you play right in front of them. A lot of sound guys don't necessarily pan things that way but I've played and gone to so many gig where the only thing going through the PA was the vocalist so you do kind of get that raw natural "pan". Then again in those scenarios it depends on where you are standing and it all kind of smooshes together the further you get away.
 
3) The thing about "drummer" perspective though is for people who have played drums (like I have) and are inputting live MIDI data (like I do with my padKontrol) or even just programming it VIA PRV it is actually more natural to hear it from that angle. Like if I were tapping out beats on the pK it just sounds wicked weird and wrong to have my hi hat coming from the right and ride coming from the left. Once the track is done though I want audience perspective.
 
Really though my ultimate goal is to create realistic faux live albums... like a demo recorded with a couple stereo mics... except super defined and nice.
 
Basically... don't listen to me. I'm a spazz. lol

Cheers Beep 
 
I'm currently experimenting with creating a non-electronic piece... At least, the main features will be guitars and drums with perhaps some pads and keys thrown in.
 
I'll be onto you for your opinions on my *ahem* guitar playing as soon as I have something worth posting.............

Any time, man. You can message me a link to your guit work if you don't want it to go "live" just yet.
 
And good call. I'm spoiled in certain ways because I played in bands for so long so I kind of know how that live shiz sounds (trying to make it work in the box... well that's the struggle) but if you can do that then you can inject all sorts of "organic" sounds into your other compositions. I'm working from the opposite angle where I need to figure out how to slide all the fancy synthy stuff into the space of a band (or just kill the band altogether... those pricks... lol).
 
Cheers.