guidothepimmp I use a Kontakt library called Getgood Drums Modern and Massive (it’s produced by a couple of the guys from Periphery)
So it’s sorta auto panned by default but the basic concept is that you’d either pan audience perspective or drummer perspective.
For drummer perspective you’d pan the HH to the left (maybe 45), Tom one to maybe 30 left, Tom 2 closer to centre but still left, Floor Tom to 20 or so right and if you have a second floor Tom would be more to the right. Basically try visualize sitting behind a kit and picture where sounds should fit.
Obviously audience perspective is the same concept but reversed. It makes no sense to me to pan audience perspective cause I think it sounds weird.
A lot of the drum sound comes from room mics and overheads (as well as parallel compression and parallel verb) and not just the drum shells. These all add the extra ambience that make drums sound huge.
Depending on how dense a mix is, I might also add an already processed kick or snare sound (e.g. Drumforge Drumshotz if you’re interested). So I’ll take a copy of say the snare, add a hectic gate to it and have that gate trigger a midi note for every transient then those midi notes trigger the sample to play. On a dense mix, this can really help with keeping the snare and/or kick super powerful while still letting everything else shine.
It’s not only number of tracks that affect how dense a mix is, it’s also all the frequencies that come together. So in my submission, I didn’t use samples in spite of having quad tracked guitars in places but when mixing @rodneyvikens track, I found myself needing to use a snare sample. Nothing wrong either way, just depends per production