{"id":27950,"date":"2026-09-17T14:29:48","date_gmt":"2026-09-17T19:29:48","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=27950"},"modified":"2026-09-21T15:49:07","modified_gmt":"2026-09-21T20:49:07","slug":"feed-your-headphones-the-best-stereo-panning-songs-according-to-berklee-online-instructors","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/feed-your-headphones-the-best-stereo-panning-songs-according-to-berklee-online-instructors\/","title":{"rendered":"Feed Your Headphones: The Best Stereo-Panning Songs\u2014According to Berklee Online Instructors"},"content":{"rendered":"\n<h2 id=\"h-explore-six-decades-of-stereo-panning-from-psychedelic-guitars-to-modern-pop\" class=\"wp-block-heading\">Explore Six Decades of Stereo Panning, from Psychedelic Guitars to Modern Pop<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Stereo panning can completely transform a mix, adding depth, movement, novelty, and sometimes even surprise, especially when you\u2019re wearing headphones! We asked Berklee Online\u2019s <a href=\"https:\/\/online.berklee.edu\/music-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">Music Production<\/a> instructors to share their favorite examples of moments in recorded music where the placement of a sound becomes part of the experience itself. Some of their choices highlight the subtle art of stereo imaging; others use panning in ways that practically demand the listener\u2019s attention.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For me, one of those moments is \u201cBlitzkrieg Bop.\u201d The Ramones pan the guitars hard right, the drums and bass mostly left, and double Joey\u2019s voice in each ear. It\u2019s raw, it\u2019s lopsided, and it\u2019s perfect. You can hear the personality in each band member\u2019s part, but also how perfectly they work together as a unit worthy of sharing the same surname.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But enough about me. Let\u2019s see what the Berklee Online instructors have to say! <\/p>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/2oQpdcYYIAis0UGGDFhyi7?utm_source=generator&#038;si=3978821b4e5a43ac\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Check out the playlist above or follow along track by track to hear how producers have spent six decades messing around with the space between your ears. Pop in your AirPods (or strap on your giant ear cans) and prepare to hear some familiar songs in entirely new ways. Take it away, Berklee Online instructors!<\/p>\n\n\n\n<h2 id=\"h-esquivel-and-his-orchestra-latin-esque-1962\" class=\"wp-block-heading\"><strong>Esquivel And His Orchestra, \u2018Latin-Esque\u2019 (1962)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/7c0Zl7MUlmn1kGgHFt1mmx?utm_source=generator&#038;si=b5682c72585c4d96\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by <a href=\"https:\/\/online.berklee.edu\/instructors\/sean-slade?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">Sean Slade<\/a><\/strong><br><strong>Author of <a href=\"https:\/\/online.berklee.edu\/courses\/music-production-capstone?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Music Production Capstone<\/em><\/a> and <a href=\"https:\/\/online.berklee.edu\/courses\/culminating-experience-in-music-production-1?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Culminating Experience in Music Production 1<\/em><\/a> and <a href=\"https:\/\/online.berklee.edu\/courses\/culminating-experience-in-music-production-2?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>2<\/em><\/a><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stereo is a gimmick! Back to Mono!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That being said, at the dawn of stereo recordings, one bandleader explored the Outer Limits.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Esquivel, inventor of Space Age Bachelor Pad Music. His most ostentatious use of the \u201cphantom center\u201d can be heard in \u201cLatin-Esque.\u201d<\/p>\n\n\n\n<h2 id=\"h-herbie-hancock-maiden-voyage-1965\" class=\"wp-block-heading\"><strong>Herbie Hancock, \u2018Maiden-Voyage\u2019 (1965)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/0T1EaGm6b9eM7xBf4F1hlc?utm_source=generator&#038;si=87494f4680ed455c\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by <a href=\"https:\/\/online.berklee.edu\/instructors\/jonathan-wyner?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">Jonathan Wyner<\/a><\/strong><br><strong>Author of <a href=\"https:\/\/online.berklee.edu\/courses\/advanced-audio-music-mastering-theory-and-practice?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Advanced Audio\/Music Mastering: Theory and Practice<\/em><\/a> and co-author of <a href=\"https:\/\/online.berklee.edu\/courses\/audio-mastering-techniques?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Audio Mastering Techniques<\/em><\/a>&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An example of great panning that\u2019s worth mentioning is \u201cMaiden Voyage\u201d by Herbie Hancock. Freddie Hubbard\u2019s trumpet and George Coleman\u2019s sax each get their own position, left and right, respectively, as if they\u2019re deep in conversation!<\/p>\n\n\n\n<h2 id=\"h-jimi-hendrix-experience-exp-and-bold-as-love-1967\" class=\"wp-block-heading\"><strong>Jimi Hendrix Experience, \u2018EXP\u2019 and \u2018Bold As Love\u2019 (1967)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/11tIPf6hU1RF5Z3gm2o2rU?utm_source=generator&#038;si=3a003e178ca445ea\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n<BR>\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/0uco0wQkB909zpPlHvu5Cc?utm_source=generator&#038;si=705f3906933e4a62\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/michael-bierylo?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Michael Bierylo<\/strong><\/a><strong>&nbsp;<\/strong><br><strong>Co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/sound-design-for-the-electronic-musician?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Sound Design for the Electronic Musician<\/em><\/strong><\/a> <strong>and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/music-production-101?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Music Production 101<\/em><\/strong><\/a><strong>&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As a child, I was fascinated by stereo records, and would lie on the floor with each of the speakers from our home stereo on the side of either ear. Stereo was originally used to make recorded music sound \u201creal.\u201d We had two ears, why not two speakers? I remember first listening to <em>Axis Bold as Love<\/em> by the Jimi Hendrix Experience this way. From the opening track, \u201cEXP\u201d with feedback guitars panning right to left, it became abundantly clear that this was a new kind of recorded reality. Throughout the record, guitars move between the stereo channels; gone was the idea that we were listening to a band just playing. On the closing track, \u201cBold as Love,\u201d all of this comes to a stunning climax when at 2:48, we hear a swirling audio effect on the drum fill that leads into the closing guitar solo with stereo flanging.<\/p>\n\n\n\n<h2 id=\"h-the-jimi-hendrix-experience-all-along-the-watchtower-1968\" class=\"wp-block-heading\"><strong>The Jimi Hendrix Experience, \u2018All Along the Watchtower\u2019 (1968)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/2aoo2jlRnM3A0NyLQqMN2f?utm_source=generator&#038;si=93c037f151d249f1\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/richard-mendelson?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Rich Mendelson<\/strong><\/a><strong>&nbsp;<\/strong><br><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/pop-music-mixing-techniques?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Pop Music Mixing Techniques<\/em><\/strong><\/a> <strong>and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/advanced-mixing-techniques?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Advanced Mixing Techniques<\/em><\/strong><\/a><strong>, and co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/art-of-mixing?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Art of Mixing<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My personal favorite panning moment is \u201cAll Along the Watchtower\u201d by the Jimi Hendrix Experience, mixed by Eddie Kramer, for the guitar solo.<\/p>\n\n\n\n<h2 id=\"h-the-temptations-take-a-stroll-thru-your-mind-1970\" class=\"wp-block-heading\"><strong>The Temptations, \u2018Take a Stroll Thru Your Mind\u2019 (1970)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/6CdW16NElE80iXYYQdEZLq?utm_source=generator&#038;si=64fd528094ec46e0\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/prince-charles-alexander?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener\"><strong>Prince Charles Alexander<br><\/strong><\/a><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/genre-survey-for-songwriters-analysis-and-application?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Genre Survey for Songwriters: Analysis and Application<\/em><\/strong><\/a><strong>, and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/commercial-vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener\"><strong><em>Commercial Vocal Production<\/em><\/strong><\/a><strong>, and co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener\"><strong><em>Vocal Production<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of my favorite panning compositions is the centered lead vocal in \u201cTake a Stroll Thru Your Mind\u201d by the Temptations. The lead vocal begins in the center of the stereo field and begins to drift to the left at 0:14, while simultaneously introducing a slapback delay (a bit more than a sixteenth note at about 180 ms) that drifts to the right. The second vocalist comes in at 0:47 using the same effect. At 1:51, the third vocalist comes in with no reverb, no slapback, and appears solidly in the center of the song. This was my introduction to an extreme use of the stereo field, and I never forgot it, so much so that I used a variation of it on Debo Ray\u2019s composition \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=gxrTqxSlIp8\" target=\"_blank\" rel=\"noreferrer noopener\">You Read Me Wrong<\/a>,\u201d released in February of 2025 on her self-titled album.<\/p>\n\n\n\n<div style=\"background:#FDE9EC; padding:18px 20px; border-radius:8px; margin:20px 0;\">\n\n  <h2 style=\"margin-top:0; margin-bottom:8px;\">Hard Panning of Doubled Guitars<\/h2>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <strong>By<\/strong>\n    <a href=\"https:\/\/online.berklee.edu\/instructors\/stephen-webber?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Stephen Webber<\/strong><\/a>\n  <\/p>\n\n  <p style=\"margin:0 0 16px 0;\">\n    <strong>Author of<\/strong>\n    <a href=\"https:\/\/online.berklee.edu\/courses\/creative-music-production-skills?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><strong><em>Creative Music Production Skills<\/em><\/strong><\/a>\n    <strong>and<\/strong>\n    <a href=\"https:\/\/online.berklee.edu\/courses\/music-production-analysis?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><strong><em>Music Production Analysis<\/em><\/strong><\/a>\n  <\/p>\n\n  <p style=\"margin:0 0 18px 0;\">\n    Hard panning of doubled guitars is an effective technique that has been put to excellent use for decades: instead of playing a rhythm guitar part once, play it twice on two different tracks, then pan them hard left and right. The two tracks played back together provide a magical effect, and the hard panning opens up the center of the mix for the lead vocal.\n  <\/p>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <a href=\"https:\/\/open.spotify.com\/track\/4yugZvBYaoREkJKtbG08Qr?si=e25edd1018af43e0\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>\u201cTake It Easy\u201d by Eagles<\/strong><\/a>\n    <strong>(1972)<\/strong>\n  <\/p>\n  <p style=\"margin:0 0 18px 0;\">\n    Right from the top, both the electric and acoustic guitars are doubled and panned hard left and right; the chorus effect created by the electric guitar provides the simple yet memorable instrumental hook of the song, instantly recognizable. The punchy acoustic guitars continue throughout the track, and allow Glenn Frey\u2019s lead vocals to sit perfectly in the mix without being pushed too far forward. Interesting note: the acoustic guitars, while both hitting the main accents, are not perfectly identical performances, which actually adds a bit of depth to the stereo field.\n  <\/p>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <a href=\"https:\/\/open.spotify.com\/track\/6gXrEUzibufX9xYPk3HD5p?si=d47aba8e45254215\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>\u201cLife in the Fast Lane\u201d by Eagles<\/strong><\/a>\n    <strong>(1976)<\/strong>\n  <\/p>\n  <p style=\"margin:0 0 18px 0;\">\n    Another example of this technique, this time with Joe Walsh\u2019s iconic electric guitar riff. The record begins with the hard-panning technique on two performances of the same part. This time, the performances are nearly identical. After the first statement of the riff, two more guitars join in an octave higher, also panned hard left and right. This hit single is an excellent masterclass for panning guitars, as there are <em>so many guitars<\/em>, many of them double-tracked, and yet the mix never gets cluttered, and there\u2019s plenty of space for Don Henley\u2019s lead vocals.\n  <\/p>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <a href=\"https:\/\/open.spotify.com\/track\/7gZQXwMQjRUp5K7xFioVhp?si=f259cb8f5ab2412a\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>\u201cAzizam\u201d by Ed Sheeran<\/strong><\/a>\n    <strong>(2025)<\/strong>\n  <\/p>\n  <p style=\"margin:0 0 18px 0;\">\n    A great present-day iteration of this same technique. Once again, the record begins with the punchy acoustic rhythm guitars, double-tracked and hard-panned left and right. This continues throughout the arrangement, the click of the pick on the guitar strings providing effective subdivisions that push the rhythm of the track forward. An interesting additional note is that the group vocals on this single are also panned hard left and right, leaving lots of space in the center for Ed\u2019s lead vocal, which is essentially the only thing occupying that frequency range in the center.\n  <\/p>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <a href=\"https:\/\/open.spotify.com\/track\/2M9ro2krNb7nr7HSprkEgo?si=f1d6324c428c4b50\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>\u201cFast Car\u201d by Tracy Chapman<\/strong><\/a>\n    <strong>(1988)<\/strong>\n  <\/p>\n  <p style=\"margin:0 0 18px 0;\">\n    Tracy\u2019s acoustic guitar intro shows that this technique works as well for fingerpicking as it does with a flat pick. The sparse production of this record also demonstrates how doubling and hard-panning the acoustic guitar helps to fill up the space with minimal instrumentation, focusing us on the lyrics of the song.\n  <\/p>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <a href=\"https:\/\/open.spotify.com\/track\/5tVA6TkbaAH9QMITTQRrNv?si=514927d797df4208\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>\u201cFree Fallin\u2019\u201d by Tom Petty<\/strong><\/a>\n    <strong>(1989)<\/strong>\n  <\/p>\n  <p style=\"margin:0 0 18px 0;\">\n    This time with a 12-string guitar, right from the top of the intro, the hard-panned dual guitar performances set the stage of the mix while leaving copious amounts of space in the center for Tom\u2019s understated vocals on the verse (and gripping, higher-register vocals on the chorus). Later in the song (3:20), the electric rhythm guitars, also doubled and hard-panned, take over the space originally occupied by the acoustic 12-string.\n  <\/p>\n\n  <p style=\"margin:0 0 4px 0;\">\n    <a href=\"https:\/\/open.spotify.com\/track\/6YKxjYPkJ64OCZBFLDWWU4?si=91a61492377d49d4\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>\u201cDrops on the Pavement\u201d by Stephen Webber and Annette Philip<\/strong><\/a>\n    <strong>(2021)<\/strong>\n  <\/p>\n  <p style=\"margin:0;\">\n    Guided by the aforementioned greats, I\u2019m throwing my own panning adventure into the mix. On this track, which I recorded with Annette (a.k.a. Zahara) during the pandemic in a 100-year-old former Hell\u2019s Kitchen piano factory with noisy steam heat, the ukulele makes up the entirety of the instrumental track. The double-tracking and panning pull double-duty, simultaneously filling out the stereo soundstage while giving the entire center of the recording to the vocals.\n  <\/p>\n\n<\/div>\n\n\n\n<h2 id=\"h-steely-dan-babylon-sisters-1980\" class=\"wp-block-heading\"><strong>Steely Dan, \u2018Babylon Sisters\u2019 (1980)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/6677v7VjQsuA6BRFQxQcmG?utm_source=generator&#038;si=e269eac865f44df9\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/dan-pfeiffer?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Dan Pfeiffer<\/strong><\/a> <strong><br>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/immersive-audio-post-production-and-mixing-techniques?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Immersive Audio Post Production and Mixing Techniques<\/em><\/strong><\/a><strong>&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From mono to fully immersive, record production has always been about creating a scene that captivates and transports the listener through sound alone. To be effective, this often requires a degree of hyper-realism or exaggeration. Steely Dan\u2019s \u201cBabylon Sisters\u201d represents an iconic pinnacle of this art form in the world of stereo production. Every source is locatable with remarkable clarity and precision, creating a soundscape of unparalleled depth and width. From the doubled, hard-panned trumpets to the ultra-wide background vocals, and from the bell tree to the tom fills, every detail can be heard, identified, and precisely placed within a soundstage that envelops the listener musically and sonically.<\/p>\n\n\n\n<h2 id=\"h-king-crimson-discipline-1981\" class=\"wp-block-heading\"><strong>King Crimson, \u2018Discipline\u2019 (1981)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/739nt7EHoiy723RNSBVWRk?utm_source=generator&#038;si=a82cc08ddd834ea6\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by <a href=\"https:\/\/online.berklee.edu\/instructors\/michael-bierylo?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">Michael Bierylo<\/a><br>Co-author of <a href=\"https:\/\/online.berklee.edu\/courses\/sound-design-for-the-electronic-musician?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Sound Design for the Electronic Musician<\/em><\/a> and <a href=\"https:\/\/online.berklee.edu\/courses\/music-production-101?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Music Production 101<\/em><\/a>&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While the effects used in the Hendrix recordings I selected earlier were made in the studio, I became fascinated with stereo as a compositional tool after listening to the King Crimson album, <em>Discipline<\/em>. On the title track, we hear Robert Fripp and Adrian Belew playing interlocking single-line parts panned opposite each other, going in and out of polyrhythms clearly influenced by Gamelan music. These can sound like a single part with casual listening, but listening in headphones, the hypnotic effect of the guitars panned opposite of each other is otherworldly.<br><\/p>\n\n\n\n<h2 id=\"h-joe-satriani-surfing-with-the-alien-1987\" class=\"wp-block-heading\"><strong>Joe Satriani, \u2018Surfing with the Alien\u2019 (1987)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/2ekfM9Dcslm7l9Lh7HGT0i?utm_source=generator&#038;si=3d9e2ee34011490e\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/bora-uslusoy?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Bora Uslusoy<\/strong><\/a><br><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/writer-engineer-producer-in-the-home-studio?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Writer, Engineer, Producer in the Home Studio<\/em><\/strong><\/a><strong>&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A balanced and wide stereo image is a staple of modern productions. Thanks to the virtual instruments that sound larger than life, stereo recording techniques, double-tracking techniques, and effective panning strategies. To me, nothing beats double-tracked and hard-panned tight rhythm guitars. Double tracking creates a wider stereo image and helps guitars get out of the way of the focal point, which is usually the vocal panned to the center. Although the focal point is not the vocal but the lead guitar, check out Joe Satriani\u2019s classic \u201cSurfing with the Alien\u201d for a great example of this. The crunching rhythm guitars lay the foundation of the track. Also, hats off to John Cuniberti, who tastefully engineered the record, which had a super tight budget. Honorable mention: The swooshing sound effect with panning automation can be heard several times throughout the track; at 1:10 and between 2:34 and 2:40.<\/p>\n\n\n\n<div style=\"background:#FDE9EC; padding:18px 20px; border-radius:8px; margin:20px 0;\">\n\n  <h2 style=\"margin-top:0; margin-bottom:8px;\">Drum Panning<\/h2>\n\n  <p style=\"margin:0 0 16px 0;\">\n    <strong>By\n    <a href=\"https:\/\/online.berklee.edu\/instructors\/jonathan-wyner?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Wyner<\/a>,\n    author of\n    <a href=\"https:\/\/online.berklee.edu\/courses\/advanced-audio-music-mastering-theory-and-practice?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Advanced Audio\/Music Mastering: Theory and Practice<\/em><\/a>\n    and co-author of\n    <a href=\"https:\/\/online.berklee.edu\/courses\/audio-mastering-techniques?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Audio Mastering Techniques<\/em><\/a><\/strong>\n  <\/p>\n\n  <p style=\"margin:0;\">\n    Here are two bold takes on drum panning:\n    <a href=\"https:\/\/open.spotify.com\/track\/1BIvJZb9IYeVA4Rpug455N?si=5e5b4f97a14e421a\" target=\"_blank\" rel=\"noopener noreferrer\">\u201cMeasure\u201d by Field Music&lt;<\/a>\n    and\n    <a href=\"https:\/\/open.spotify.com\/track\/2C1Hz8McCnCOpg06v3RiEP?si=6bbe9c47b11e4db3\" target=\"_blank\" rel=\"noopener noreferrer\">\u201cIt\u2019s Nearly Africa\u201d by XTC<\/a>.\n    Panned elements steal focus if they are prominent in the mix, and snare drums are typically up the center to drive and support a song. In these two examples, the drums take greater focus, akin to how a rhythm guitar or keyboard might ordinarily occupy a supportive yet prominent place in a mix.\n  <\/p>\n\n<\/div>\n\n\n\n<h2 id=\"h-manowar-the-warriors-prayer-and-blood-of-kings-1989\" class=\"wp-block-heading\"><strong>Manowar, \u2018The Warriors Prayer\u2019 and \u2018Blood of Kings\u2019 (1989)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/7IOcb1IuupQDBrmgdAxX1F?utm_source=generator&#038;si=c7d494f825e44e21\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe><br>\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/4ELT1W4vG0BuC04CQ2e98I?utm_source=generator&#038;si=c91152621b4b401e\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/bora-uslusoy?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Bora Uslusoy<\/strong><\/a><br><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/writer-engineer-producer-in-the-home-studio?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Writer, Engineer, Producer in the Home Studio<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I was so impressed when I first heard the sound effects of horses with panning automation on \u201cThe Warriors Prayer,\u201d a spoken word track from Manowar\u2019s <em>Kings of Metal<\/em> album. I know it\u2019s cheesy, but I was probably in high school, listening to that track on headphones through my Walkman, lying in bed at night in the dark. I felt like the horses were running through my brain! A memory that I keep remembering all these years later. And yes, the headphones probably had orange colored ear cushions.<\/p>\n\n\n\n<h2 id=\"h-ginuwine-pony-1996\" class=\"wp-block-heading\"><strong>Ginuwine, \u2018Pony\u2019 (1996)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/5FR54UnizyI8pE5E9Zb0Dt?utm_source=generator&#038;si=ddc0dd440c7848cc\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/prince-charles-alexander?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener\"><strong>Prince Charles Alexander<br><\/strong><\/a><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/genre-survey-for-songwriters-analysis-and-application?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Genre Survey for Songwriters: Analysis and Application<\/em><\/strong><\/a><strong>, and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/commercial-vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener\"><strong><em>Commercial Vocal Production<\/em><\/strong><\/a><strong>, and co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener\"><strong><em>Vocal Production<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another cool stereo panning trick is Timbaland\u2019s production of \u201cPony\u201d by Ginuwine (1996). The song is very popular, and most people don\u2019t realize there are three snares, one centered, one left, and one right. The one on the left is pitched higher than the center, and the one on the right is pitched lower than the center. You can actually hear the one on the right play a few beats independently from time to time, and the one in the center is revealed a few times. What an awesome stereo field Easter egg for producers and mixers to find.<\/p>\n\n\n\n<h2 id=\"h-n-e-r-d-baby-doll-2002\" class=\"wp-block-heading\"><strong>N*E*R*D, \u2018Baby Doll\u2019 (2002)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/3CUgMeKdZlHUyMIH5o6Ufd?utm_source=generator&#038;si=a734baca936144dc\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/loudon-stearns?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Loudon Stearns<\/strong><\/a> <strong><br>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/composing-and-producing-electronic-music-1?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Composing and Producing Electronic Music 1<\/em><\/strong><\/a> <strong>and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/composing-and-producing-electronic-music-2?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>2<\/em><\/strong><\/a><strong>, and co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/ableton-live-techniques-synthesizers-and-effects?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Ableton Live Techniques: Synthesizing and Effects<\/em><\/strong><\/a><em style=\"font-weight: bold;\">,<\/em> <a href=\"https:\/\/online.berklee.edu\/courses\/sylvia-massy-creative-approaches-to-recording-and-producing-music?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Sylvia Massy: Creative Approaches to Recording and Producing Music<\/em><\/strong><\/a><strong><em>, and more&nbsp;<\/em><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The song \u201cBaby Doll\u201d by N*E*R*D is relentless in its use of panning. It feels as if Pharell Williams and Chad Hugo listened to all the old white men mix engineers with their rock music \u201crules\u201d about panning, and said \u201cfuck that, we are going to break all those rules!\u201d And they do so, repeatedly and consistently throughout the song. In analyzing mixes, before I heard this track, I thought of panning as a way to help the listener focus on specific elements, or create a realistic space. This track was the first time I considered using panning for shock value. The track starts with drums that are basically mono, in the middle of the mix, and subtle breathing whispers only in the left ear, quite intimate and unusual to begin with, and connects to the meaning of whispering in a baby doll\u2019s ear. After that the listener begins to accept that the panning feels pretty typical, but just wait! At 1:40, the drums shift all the way to the left channel and the vocals to the right ear! It was so strange that when I first heard it I almost fell off my bicycle! As soon as I got back on my bike (and re-seated my earbuds) I got to the 2:33 mark, where the entire drum kit pans (during a drum fill!) to the right side, and the vocals to the right also, with a strong guitar in the left. This shift had me nearly turning my bicycle into pedestrian traffic. That\u2019s when I decided it would be best to pause and listen to the rest of the track while standing still. From that moment on, I had a new way to approach panning: for shock and awe!<\/p>\n\n\n\n<h2 id=\"h-beyonce-drunk-in-love-2013\" class=\"wp-block-heading\"><strong>Beyonc\u00e9, \u2018Drunk in Love\u2019 (2013)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/6jG2YzhxptolDzLHTGLt7S?utm_source=generator&#038;si=dd31103df5d14f5b\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/prince-charles-alexander?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Prince Charles Alexander<br><\/strong><\/a><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/genre-survey-for-songwriters-analysis-and-application?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Genre Survey for Songwriters: Analysis and Application<\/em><\/strong><\/a><strong>, and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/commercial-vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Commercial Vocal Production<\/em><\/strong><\/a><strong>, and co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Vocal Production<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another interesting one is Beyonce\u2019s \u201c<em>Lo-o-ove<\/em>\u201d on \u201cDrunk in Love\u201d (2013). There are four of them starting at 2:34. The first three are centered with a bit of reverb. And then the fourth one auto-pans from the left to the right with extreme flanging on it. It\u2019s another awesome Easter egg that I\u2019m sure I used in a mix after I heard it. A big shoutout to my mix engineering colleague, Tony Maserati, for creating that effect.<\/p>\n\n\n\n<h2 id=\"h-los-amigos-invisibles-ten-cuidao-2016\" class=\"wp-block-heading\"><strong>Los Amigos Invisibles, \u2018Ten Cuidao\u2019 (2016)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/1VdtaSi02cx53h7RCb2AIp?utm_source=generator&#038;si=cc31415619d74d9f\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/enrique-gonzalez-m%C3%BCller?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Enrique Gonzalez M\u00fcller<\/strong><\/a><strong>&nbsp;<\/strong><br><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/creative-recording-and-editing-techniques-in-music-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Creative Recording and Editing Techniques for Music Production<\/em><\/strong><\/a> <strong><em>and<\/em><\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/music-production-maximizing-emotion-through-performance-arrangement-and-sound?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Music Production: Maximizing Emotion Through Performance, Arrangement, and Sound<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I selected a few of my productions where I get giddy with panning. For us music makers, there is a particular kind of joy in understanding the different technical buttons we push in order to create an emotional reaction. But I always try to remember that all of this technique and know-how ultimately serves that bigger objective: an emotional goal!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Panning is an underrated and excellent example. It is often treated as a purely technical tool\u2014something we use to alleviate masking in a mix, create a wide stereo image, or approximate the way we experience sound in the real world. But I find the emotional potential and power of panning to be way more interesting\u2014and so much fun!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One example that comes to mind is the production and arrangement I made for my fellow compatriots, Los Amigos Invisibles, on our Grammy-nominated song \u201cTen Cuidao.\u201d In my mix, I tried to convey a playful, spatial game of peekaboo, delineating the verse, prechorus, and chorus with very contrasting spatial presentations that counter each other. If that sounds a little bit convoluted, I invite you to get your favorite hi-fi headphones and give it a spin. Pay special attention to how the percussion and guitars are always engaged in a left\/right tug-of-war throughout the song. Also, note the panned g\u00fciro solo at 2:07!<\/p>\n\n\n\n<h2 id=\"h-desorden-publico-mini-uzi-2017\" class=\"wp-block-heading\"><strong>Desorden P\u00fablico, \u2018Mini Uzi\u2019 (2017)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/5e47pPyM4sqYPEpPOA13gy?utm_source=generator&#038;si=2071baaebc1e4548\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/enrique-gonzalez-m%C3%BCller?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Enrique Gonzalez M\u00fcller<\/strong><\/a><strong>&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/creative-recording-and-editing-techniques-in-music-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Creative Recording and Editing Techniques for Music Production<\/em><\/strong><\/a> <strong><em>and<\/em><\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/music-production-maximizing-emotion-through-performance-arrangement-and-sound?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Music Production: Maximizing Emotion Through Performance, Arrangement, and Sound<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another favorite of mine is my production of the song \u201cMini Uzi\u201d by my childhood heroes, Desorden P\u00fablico\u2014they were my favorite band when I was nine years old! Right before I graduated from Berklee, I met these cult ska legends and got to produce a song for them; we clicked and bonded through our shared love of creatively breaking genre conventions and bending expectations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This particular song deals with intense reflections on growing up in a violent, hostile urban setting; love, survival of the self, and defending your family through it all. I tried to convey the tension behind the exposition in the verses by purposely creating lopsided, jarring panning decisions, then contrasting them with the emotional release of a symmetrical stereo chorus.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Put your headphones on and give it a spin. Pay special attention to the development of the second verse and outro, particularly the spatial placement of the machine-gun samples!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These two examples illustrate what I find most exciting about production: the moment when a technical decision ceases to be merely a technical choice and becomes part of our storytelling. Tools are important, but what I value most is how we use them to convey meaning, evoke emotion, and ultimately shape what we feel.<\/p>\n\n\n\n<h2 id=\"h-sam-smith-feat-kim-petras-unholy-2022\" class=\"wp-block-heading\"><strong>Sam Smith (feat. Kim Petras), \u2018Unholy\u2019 (2022)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/0NZPBYD5qbEWRs3PrGiRkT?utm_source=generator&#038;si=4c87675cdd80462d\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/prince-charles-alexander?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Prince Charles Alexander<br><\/strong><\/a><strong>Author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/genre-survey-for-songwriters-analysis-and-application?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Genre Survey for Songwriters: Analysis and Application<\/em><\/strong><\/a><strong>, and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/commercial-vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Commercial Vocal Production<\/em><\/strong><\/a><strong>, and co-author of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/vocal-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Vocal Production<\/em><\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And finally, we were all warned about using stereo imaging on low-frequency content. So, explain the stereo bass on \u201cUnholy\u201d by Sam Smith (feat. Kim Petras)! I love this song and the stereo perspective of the bass line.<\/p>\n\n\n\n<h2 id=\"h-ryan-beatty-ribbons-2023\" class=\"wp-block-heading\"><strong>Ryan Beatty, \u2018Ribbons\u2019 (2023)<\/strong><\/h2>\n\n\n\n<iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/track\/1mn1vm47Qm3h91kgNRmXf0?utm_source=generator&#038;si=3d73652e59804b7a\" width=\"100%\" height=\"152\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Selected by<\/strong> <a href=\"https:\/\/online.berklee.edu\/instructors\/rachel-alina?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Rachel Alina<br><\/strong><\/a><strong>Instructor of<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/advanced-mixing-techniques?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Advanced Mixing Techniques<\/em><\/strong><\/a> <strong>and<\/strong> <a href=\"https:\/\/online.berklee.edu\/courses\/art-of-mixing?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Art of Mixing<\/em><\/strong><\/a><strong>&nbsp;&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of my favorite examples of stereo use in a mix to light up the song is in Ryan Beatty\u2019s track, \u201cRibbons.\u201d I\u2019ll keep my notes intentionally vague to not spoil it if this is your first listen to the song!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The lead vocals enter in the center, with a second lead entering and both panned slightly left\/right at 0:29. It gives the song a perfect life for both the melody and lyric at that time. Even more striking, the vocal then collapses to mono at 0:57, again hammering home the emotion of that moment of the story. When it opens back to stereo at 1:24, it\u2019s just the beginning of a truly stunning second half of the song.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I dare you to listen and not get chills!&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>From psychedelic guitars and hard-panned drums to vocals that collapse from stereo to mono, Berklee Online instructors share standout songs that make creative use of the stereo field\u2014and reveal how producers have spent six decades messing with the space between your ears.<\/p>\n","protected":false},"author":13,"featured_media":27951,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,9593],"tags":[10300,10312,10297,10321,10317,7274,10311,9502,10306,10289,10295,9893,10318,9949,10322,9804,8641,9276,499,10291,10315,10302,10292,10316,10293,10304,10296,6633,732,7775,6939,10310,10301,6667,10308,784,10314,839,842,10303,9645,10305,7876,10320,1146,10290,6873,10288,10299,10309,1251,1270,9095,1346,10319,10313,10294,7449,1493,10307,7945,10323,8162,10298],"class_list":["post-27950","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-professor-playlists-articles","tag-adrian-belew","tag-all-along-the-watchtower","tag-annette-philip","tag-baby-doll","tag-babylon-sisters","tag-beyonce-2","tag-blitzkrieg-bop","tag-bora-uslusoy","tag-chad-hugo","tag-dan-pfeiffer","tag-debo-ray","tag-desorden-publico","tag-discipline","tag-don-henley","tag-drunk-in-love","tag-eagles","tag-ed-sheeran","tag-eddie-kramer","tag-enrique-gonzalez-muller","tag-esquivel","tag-fast-car","tag-field-music","tag-freddie-hubbard","tag-free-fallin","tag-george-coleman","tag-ginuwine","tag-glenn-frey","tag-herbie-hancock","tag-jimi-hendrix","tag-joe-satriani","tag-joe-walsh","tag-joey-ramone","tag-john-cuniberti","tag-jonathan-wyner","tag-kim-petras","tag-king-crimson","tag-life-in-the-fast-lane","tag-los-amigos-invisibles","tag-loudon-stearns","tag-manowar","tag-michael-bierylo","tag-nerd","tag-pharrell-williams","tag-pony","tag-prince-charles-alexander","tag-rachel-alina","tag-ramones","tag-rich-mendelson","tag-robert-fripp","tag-ryan-beatty","tag-sam-smith","tag-sean-slade","tag-steely-dan","tag-stephen-webber","tag-surfing-with-the-alien","tag-take-it-easy","tag-the-jimi-hendrix-experience","tag-the-temptations","tag-tom-petty","tag-tony-maserati","tag-tracy-chapman","tag-unholy","tag-xtc","tag-zahara"],"acf":[],"yoast_head":"<!-- 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Instructors\" \/>\n<meta property=\"og:description\" content=\"Explore 60 years of headphone treats with stereo-panning songs selected by Berklee Online instructors, from Esquivel to Beyonc\u00e9 and beyond.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/online.berklee.edu\/takenote\/feed-your-headphones-the-best-stereo-panning-songs-according-to-berklee-online-instructors\/\" \/>\n<meta property=\"og:site_name\" content=\"Berklee Online Take Note\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/berkleeonline\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-17T19:29:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-21T20:49:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/online.berklee.edu\/takenote\/wp-content\/uploads\/2026\/09\/instructors_favorite_stereo_panning_songs_article_image_2026.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta 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