How to mix in 5.1 Surround Sound & panning
Goetz Botzenhardt explains how to mix in 5.1 surround, placing dialogue, music and effects across all six speakers and using the sub wisely.
What's in the course
16 lessons (1h 34m) · 1 free
01. How to use both film footage and audio in Pro Tools
19:52

02. Importing an orchestral recording - key concepts
8:10

03. Stemming & Reverb
8:51

04. Adding more parts to the mix - percussive elements
4:33

05. The mixing process
6:35

06. Dynamics & rides
3:08

07. Walk-through of all Goetz's mixing on this score
5:02

08. ASSIGNMENT #2: CREATE A MIX
0:40

09. CHALLENGE #1: MIX TO FILM
Lesson transcript
Using the Surround Sound System
Okay, so I'm just going to quickly explain how to actually use the surround sound system.
Mixing in Surround Sound
Obviously, it's great fun to mix in surround because you don't just have two speakers to play with; you have six. This is really amazing because you can make sounds go round and effectively use the sub for extra effects.
Basic Rules for Mixing
Here are a few basic rules to keep in mind while mixing:
-
Space for Dialogue:
- Quite a lot of the music is layered with dialogue and other elements.
- Make sure there's space for dialogue and your music fits around it.
-
Center Speaker Usage:
- Most dialogue is always in the centre speaker, so use this sparingly.
- Only use the centre speaker freely if you're 100% sure there won't be any other dialogue or sounds when your music plays.
-
Low-Frequency Effects (LFE):
- Your music should sound good even if it plays out of the front speakers only, without reliance on the sub.
- If too much material is in the sub, it may be removed in the dub, so prepare for that.
- As a rule of thumb, avoid putting too much into the sub. It's primarily for:
- Special Effects: Use it for big effects or booms, like a big bass drum or a slamming sound that hits once or twice.
- Avoid Constant Uses: Don't place elements like double basses in the sub when they play consistently; save the sub for special occasions.
Surround Speaker Considerations
-
Atmospheric Creation:
- Be cautious with percussive sounds coming from the surround speakers. If audience members hear sounds from behind, it might confuse them.
- Use surround for creating an atmosphere:
- Include ambience mics from the orchestra.
- Consider reverbs and subtle effects.
-
Main Music Focus:
- Main music should be delivered primarily through the front speakers behind the screen.
- Surround speakers are there to enhance the atmosphere, not to carry the main music.
Creative Use of Surround
- Feel free to be creative with unique sounds or delays in the surround speakers.
- All your 5.1 reverbs will be part of the entire system, contributing to the overall atmosphere.
Conclusion
So, that's really all I've got to say about panning for now.
This concludes the panning chapter, which was quite short, much to your relief! Now, let's move on to the actual mixing.
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Meet your guru

Meet your guru
In the early nineties, Goetz Botzenhardt trained at Swanyard Recording Studios, assisting top producers like Flood, Alan Moulder and Tom Lord-Alge, and cut his teeth recording and mixing the dance and Acid Jazz bands of the 90s - Incognito, Galliano, Soul II Soul and many others.
At Swanyard he met Rollo Armstrong and the two quickly formed a creative partnership, leading to many big dance records and remixes and, soon after, to recording and mixing the first two acclaimed Faithless albums and Dido's multi-platinum 'No Angel'.
Ranging across genres, he recorded and mixed the Sugababes' debut album 'One Touch', including their first hit 'Overload', and has mixed for The Cardigans, Bjork, The Cinematic Orchestra, Craig David, the Pet Shop Boys and Hikaru Utada, one of Japan's most successful artists.
More recently he expanded into film and TV, working extensively with composers Christian Henson, Martin Phipps and Anne Nikitin, and mixing Daniel Pemberton's Golden Globe-nominated score for 'Steve Jobs', directed by Danny Boyle. Away from film he produced Tanita Tikaram's 'Closer to the People', mixed tracks for Sigala, Ella Eyre, Breton, Planet Funk and Tito Jackson, and in 2016 mixed Peabo Bryson's album with Jimmy Jam and Terry Lewis. A full list of his work is on his discography and filmography pages at goetz-botzenhardt.com.
Goetz works from his own studio and mix room, built around an SSL E4044 console, Adam 5.1 surround monitoring, a 48-channel Pro Tools HDX system and choice outboard gear. In his courses he takes you inside that room to show how he mixes across two very different worlds: in Mixing for Film & TV Score, how he balances and shapes orchestral and hybrid scores to serve the picture; and in Mixing Commercial Pop Music, how he builds punchy, radio-ready pop mixes from the multitrack up.



















