Blue May sets up a 60s-style panning arrangement at his LA studio, drums hard left, bass hard right, then narrows the Hammond toward mono. That mono center, he points out, is what creates front-to-back depth rather than just width.
A lot of those 60s records got away with wild panning because the instruments were tracked together, and the bleed carried a natural connection across the stereo field. Dry, isolated tracks don't have that, and the separation can start to feel unhinged.
His fix: place a reverb return on the opposite side of whatever you've panned hard. The guitar goes hard right, a plate reverb comes back on the left, and a flanger send adds its own layer of character on top of that.