Yeah drummer/audience perspective is probably the dumbest consideration ever. How that ever gets so hotly debated is beyond comprehension. Just do it the way you want and no one will care.
Yeah drummer/audience perspective is probably the dumbest consideration ever. How that ever gets so hotly debated is beyond comprehension. Just do it the way you want and no one will care.
Yeah drummer/audience perspective is probably the dumbest consideration ever. How that ever gets so hotly debated is beyond comprehension. Just do it the way you want and no one will care.
I'd never even thought about such things as audience or drummer's perspective until I saw the debate raging at HR.It's really all about balancing the mix...that's it....and little to do with audience perspective or whatever.
Bear in mind though, that "Because we can" is almost always preceded by a period of "I wish we could". So the desire to do certain things comes before the technology exists to be able to do it. I'm sure transexual people didn't suddenly appear because the technology enabling sex changes came about. For the technology to come about, someone thought "if only......"But to me that just kind of sounds more like a "because we can" argument
If you think about it, it was inevitable that with machines that enabled panning, drums would end up centrally in a mix at some stage. Actually, everything has turned up centrally in a mix at some point. But to many ears, only certain things sound good there more often than they don't and they are the things that have tended to remain as a kind of norm. Eventually, they make sense sonically speaking.rather than because it makes more sense, sonically speaking.
I'd never even thought about such things as audience or drummer's perspective until I saw the debate raging at HR.
I don't dispute it. HR was the first recording forum I ever got involved in. So it was at HR that I was alerted to the kinds of recording debates people are having.I've seen the same debate on other forums....it's not just HR.
I am still waiting to see the drums panned up and down
Alan.
Just curious if anyone knows when it started becoming standard practice to pan drums in a stereo spectrum with the toms out wide - and why.
It's always sounded very unnatural to me to have the toms bouncing hard back and forth between the speakers like that, since just about everyone listening to a drumset (except for the drummer kind of) normally hears the drums as basically a mono instrument.
I much prefer the sound of older records where the drums are in mono like the other instruments.
I mean ... I can understand recording an instrument in stereo if it's a solo piano piece or something because there's nothing else. But when you hear a band play, you never hear the drums like that.
I know recording doesn't have to represent reality (and I'm glad for that), but I was just wondering why stereo drums have become the norm as opposed to the exception.
Any thoughts?