Understanding Pan Law: Folders, Buses, And Their Acoustics

Panning laws govern the perceived sound level when panning a mono signal across the stereo field. The panning laws in DAWs have their roots in analog mixing consoles. The two fundamental panning laws relate to the way the material will be auditioned. If you want the panned sound to be perceived, acoustically, as remaining at a constant volume regardless of the pan position, then the centre attenuation needs to be 3dB. However, if you want the panned sound to be perceived as having a constant level when summed to mono, the centre attenuation needs to be 6dB. Most mixing consoles and a great many DAWs employ a compromise option of 4.5dB centre attenuation, which is half-way between the two previous ideals.

Different DAWs default to different panning laws. This is why duplicating a mix on different DAWs can yield different results. Panning laws matter with DAWs, even though they don’t have hardware mixers. This is why it is important to consider whether to apply pan law to folders and busses.

Panning laws govern the perceived sound level when panning a mono signal across the stereo field

Panning laws are a recording and mixing principle that governs the perceived sound level when panning a mono signal across the stereo field. When a mono input is fed into a stereo bus, the panning law determines the perceived sound level as the audio sweeps from one side of the stereo field to the other. The purpose of the panning law is to ensure that the perceived loudness remains constant as the audio is directed left or right with the pan pot.

Without panning laws, panning a mono signal to the centre would result in a louder sound compared to having it panned to one side. This is due to the acoustic summing of the room and system, which causes the specific relative level to increase from -3 dB to 0 dB as the mono signal is panned from the centre to the hard left or right. The panning law compensates for this increase in relative level, ensuring that the perceived loudness remains constant across the stereo field.

Different panning laws result in different perceived sound levels. For example, the Yamaha digital console employs a typical 3 dB panning rule, where the signal is at full level when the pan position is centred, and becomes progressively louder (up to +3 dB) as it is panned to the left or right. On the other hand, the console manufacturer SSL used a 4.5 dB panning rule, as their consoles were believed to be used in rooms with better acoustic summing capabilities.

The choice of panning law depends on the specific situation and equipment being used. It is important to maintain consistency in the panning law setting throughout a project, as changing the panning law midway through can cause drastic changes in the mix. Additionally, when using folder tracks, busses, and groups, it is recommended to set the panning law to 0 dB to ensure correct summing of tracks.

The panning laws in DAWs have their roots in analog mixing consoles

Panning laws are a recording and mixing principle that states that if a stereo signal is mixed down to monophonic, any signal of equal amplitude in both channels will increase in level by 3 dB. This phenomenon is caused by the acoustic summation of two identical signals, which increases the perceived volume.

The panning law determines the relationship between the sound’s apparent image position and the pan knob control. This refers to the way the sound behaves when it is moved across the stereo field. The usual requirement is that it moves smoothly and linearly across the field.

There are a few different panning laws that can be applied:

• Equal power law with a 0 dB center: This boosts signals panned hard left or right by 3 dB, but when panned to center, causes no output level reduction in either channel.
• -3 dB center: This means there’s no boost when panned hard left or right, but either channel is down by -3 dB when panned to center.
• Linear panning curve: Hard panning left or right causes no boost, but this particular curve adds a -6 dB drop for each channel when panned to the center, so that the sides are more prominent.
• Stereo balance control: The measured signal level is constant at all times, regardless of the panning position.

The panning law you choose can affect a mix’s overall sound if you have a lot of mono sound sources. Some engineers took subjective liberties with audio’s perceived level when it was panned across the stereo field. Some dropped the center level a little more than usual so that the sides would “pop” more, or to create extra space for vocalists who were panned to center.

Ultimately, with few exceptions, it doesn’t matter which one you use as long as you’re doing projects in the same DAW. However, if you import an OMF file from another DAW or need to duplicate a mix from another DAW, ask what panning law was used in creating the file. Hopefully, you’ll be able to match it.

Panning laws aren't really laws

Panning laws are not really laws. There is no specification or standard for panning laws, and engineers have taken subjective liberties with audio's perceived level when it is panned across the stereo field. Some engineers dropped the centre level more than usual so that the sides would "pop" more, or to create extra space for vocals. Others didn't drop the centre level at all, and some did custom tweaks.

Panning laws matter when using a DAW (Digital Audio Workstation). Different DAWs default to different panning laws, which is why duplicating a mix on different DAWs can yield different results. The panning law you choose can affect a mix's overall sound if you have a lot of mono sound sources.

The panning law specification is important when importing an OMF file from another DAW or duplicating a mix from another DAW. If you don't match the panning law, you may end up with a perceived loss or increase in level when panning away from or back to the centre.

Panning laws govern the perceived sound level when panning a mono signal across the stereo field. When a mono input feeds a stereo bus, the panning law determines how you perceive the sound level as the audio sweeps from one side of the stereo field to the other. Without panning laws, panning the sound to the centre would sound louder than having it panned to one side or the other.

Panning laws have their roots in analogue mixing consoles. If a hardware mixer's pan control had a linear taper potentiometer, the sound was louder when panned to the centre. To compensate, hardware mixers used non-linear resistance tapers to drop the level, typically by -3 dB. This gave an apparent level that was constant as you panned across the stereo soundstage.

Panning laws matter with DAWs, even though they don't have hardware mixers

Panning laws are an important consideration when mixing audio, and this remains true even when working with a DAW. While DAWs do not have hardware mixers, they do have virtual mixers built into their software, and panning laws still apply.

Panning laws refer to the way in which a mono signal is treated when it is mixed down to a mono output. When a mono signal is panned hard left or right in a stereo mix, it will play out of only one speaker, resulting in no change in volume. However, when the same mono signal is panned to the centre, both speakers will play it, resulting in a 3 dB increase in volume. This is due to the principle of summing, where identical signals from multiple sources combine to create a louder signal.

Panning laws are designed to compensate for this increase in volume when a mono signal is panned to the centre. By applying a negative gain of -3 dB, -4.5 dB, or -6 dB to the centre pan position, the overall volume remains consistent as the signal is moved across the stereo field. This results in a smoother and more consistent listening experience.

DAWs have built-in panning laws that can be applied to individual tracks or busses. While it may seem unnecessary to apply panning laws to folders and busses, it is important to remember that these are still mono signals being mixed down to mono. Therefore, the same panning laws should be applied to ensure consistent volume levels across the mix.

It is worth noting that panning laws are not a one-size-fits-all solution. Different panning laws may be more suitable for different applications, such as broadcasting or working with mono tracks. It is important to understand how panning laws affect the overall mix and to use them appropriately to achieve the desired results.

How to make sure you're using the right law

Panning laws govern the perceived sound level when panning a mono signal across the stereo field. The panning law you choose can affect a mix’s overall sound if you have a lot of mono sound sources.

There are two fundamental panning laws:

• If you want the panned sound to be perceived, acoustically, as remaining at a constant volume regardless of the pan position, then the centre attenuation needs to be 3dB.
• If you want the panned sound to be perceived as having a constant level when summed to mono, the centre attenuation needs to be 6dB.

Most mixing consoles and a great many DAWs employ a compromise option of 4.5dB centre attenuation, which is half-way between the two previous ideals.

Different DAWs default to different panning laws. This is why duplicating a mix on different DAWs can yield different results.

You’ll typically set a global pan law as a preference, as with Steinberg Cubase or Pro Tools, for individual tracks by using a menu for a panning module, as with PreSonus Studio One, or on a per track/bus basis, which is what Magix Samplitude does.

If the end file is going to be collapsed to mono, you’re best off using a -6 dB pan law so that there isn’t a big perceived level change when you listen to the final mono track compared to your original stereo mix.

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