3 Reasons to Mix in Mono: Part II

Here's the second reason I keep my session in mono for the vast majority of the time I spend mixing a song:

Panning changes the volume of your tracks.

Depending on the response of the speakers and the acoustics of the room, the “phantom center” will be up to about 6dB louder than the same signal played through only the left or right speaker. As you pan a centered mono track to one side or the other, it will gradually drop in volume.

Your DAW will have a setting called “pan law” or “pan rule,” which dictates by what amount the DAW will automatically compensate for this change by turning down the volume of your tracks when panned to the center. A pan law of -3dB is commonly used because it is a compromise between a pan law of 0dB, which assumes that there is no change in volume as you pan, and a pan law of -6dB, which assumes the maximum change in volume as you pan.

Although a pan law is a useful tool for mixing in stereo, the perceived volume of your tracks will vary depending on the position of the listener in reference to the speakers and where the tracks are positioned in the stereo field. By mixing in mono, you can more accurately hear the actual volume of your tracks, relative to one another, which renders the pan law irrelevant. Your mix will also translate better to situations where the listener is effectively hearing your song in mono (listening from a distance or on small speakers), even if it’s technically in stereo.

I usually try to decide on my pans before I start setting levels. If you wait until later in the mix to pan your tracks, you might change your levels, depending on the pan law. If you mix in mono, those changes will be obvious, and you can compensate manually by automating the volume.

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Tune in next week for Part III.