{"id":65248,"date":"2026-07-27T14:22:26","date_gmt":"2026-07-27T19:22:26","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=65248"},"modified":"2026-07-27T14:22:26","modified_gmt":"2026-07-27T19:22:26","slug":"mixing-mike-manginis-drums-with-dan-malsch","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/mixing-mike-manginis-drums-with-dan-malsch\/","title":{"rendered":"Mixing Mike Mangini\u2019s Drums With Dan Malsch"},"content":{"rendered":"<div id=\"produ-2472130191\" class=\"produ-leaderboard-placement produ-entity-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-3885524050954-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-3885524050954-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-3885524050954-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-3885524050954-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-3885524050954-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div><div class=\"flex-video widescreen youtube\">\n<div class=\"container-lazyload preview-lazyload container-youtube js-lazyload--not-loaded\"><a href=\"https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgw\" class=\"lazy-load-youtube preview-lazyload preview-youtube\" data-video-title=\"MIXING Mike Mangini DRUMS\" title=\"Play video &quot;MIXING Mike Mangini DRUMS&quot;\">https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgw<\/a><noscript>Video can&#8217;t be loaded because JavaScript is disabled: <a href=\"https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgw\" title=\"MIXING Mike Mangini DRUMS\">MIXING Mike Mangini DRUMS (https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgw)<\/a><\/noscript><\/div>\n<\/div>\n<p id=\"ember60\" class=\"ember-view reader-text-block__paragraph\">Mixing drums played by Mike Mangini presents an unusual challenge.<\/p>\n<p id=\"ember61\" class=\"ember-view reader-text-block__paragraph\">The performances are already incredibly controlled. The drums are tuned beautifully, the dynamics are intentional and every fill is designed around the arrangement.<\/p>\n<p id=\"ember62\" class=\"ember-view reader-text-block__paragraph\">In this video excerpt, Dan Malsch breaks down how he mixed Mike Mangini\u2019s drums on Monolith\u2019s \u201cMother Martyr,\u201d including the kick, snare, toms, cymbals, gating, samples, EQ and parallel compression.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"ember64\" class=\"ember-view reader-text-block__paragraph\">The excerpt comes from Dan\u2019s complete <strong>Mixing Monolith\u2019s \u201cMother Martyr\u201d<\/strong> course, where he takes you through the entire mix, including the session setup, routing, EQ, compression, effects, automation and master bus processing. You also get the multitracks so you can follow along or create your own mix.<\/p>\n<p id=\"ember65\" class=\"ember-view reader-text-block__paragraph\"><strong>Watch the full course here:<\/strong> <a class=\"gMGbyJsRYUteavlpDnLYrBpIvmbltdaOw \" tabindex=\"0\" href=\"https:\/\/promixacademy.com\/course\/dan-malsch-mixing-monoliths-mother-martyr\/\" target=\"_self\" data-test-app-aware-link=\"\">https:\/\/promixacademy.com\/course\/dan-malsch-mixing-monoliths-mother-martyr\/<\/a><\/p>\n<p id=\"ember66\" class=\"ember-view reader-text-block__paragraph\">As Dan explains during his breakdown of Monolith\u2019s song \u201cMother Martyr,\u201d the real objective is not to completely reinvent the drum sound.<\/p>\n<p id=\"ember67\" class=\"ember-view reader-text-block__paragraph\">It is to enhance what is already there without destroying the musicality of Mike\u2019s performance.<\/p>\n<blockquote id=\"ember68\" class=\"ember-view reader-text-block__blockquote\"><p>\u201cMike is such a great drummer. Really, what I have to do is try not to mess up what he sent me.\u201d<\/p><\/blockquote>\n<p id=\"ember69\" class=\"ember-view reader-text-block__paragraph\">Dan did not record the original session. The multitracks were sent to him, so his job began with understanding the existing drum sound, managing the live microphone bleed and building the additional size and aggression the dense production required.<\/p>\n<h3 id=\"ember70\" class=\"ember-view reader-text-block__heading-3\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-65249 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3.jpeg\" alt=\"\" width=\"739\" height=\"415\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3.jpeg 739w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-150x84.jpeg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-80x45.jpeg 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-320x180.jpeg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-303x170.jpeg 303w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-267x150.jpeg 267w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-40x22.jpeg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-160x90.jpeg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-20x11.jpeg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-640x359.jpeg 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-605x340.jpeg 605w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-18x10.jpeg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-534x300.jpeg 534w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-16x9.jpeg 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-3-385x216.jpeg 385w\" sizes=\"auto, (max-width: 739px) 100vw, 739px\" \/><\/h3>\n<h3 class=\"ember-view reader-text-block__heading-3\">Keeping the Live Kick Drum at the Centre<\/h3>\n<p id=\"ember71\" class=\"ember-view reader-text-block__paragraph\">The original kick drum contained a substantial amount of bleed from the rest of the kit.<\/p>\n<p id=\"ember72\" class=\"ember-view reader-text-block__paragraph\">Rather than replacing it completely, Dan used Black Salt Audio\u2019s Silencer to control the spill while retaining the character of the live recording.<\/p>\n<p id=\"ember73\" class=\"ember-view reader-text-block__paragraph\">The live kick remained louder than the additional samples throughout the mix.<\/p>\n<p id=\"ember74\" class=\"ember-view reader-text-block__paragraph\">This is an important distinction. The samples were not used to erase Mike\u2019s original drum sound. They were used to provide specific qualities that the recorded kick needed inside the finished track.<\/p>\n<p id=\"ember75\" class=\"ember-view reader-text-block__paragraph\">Dan combined the original kick with a sample supplied by Mike, then added several of his own layers.<\/p>\n<p id=\"ember76\" class=\"ember-view reader-text-block__paragraph\">One was a dedicated sub-kick sample. Dan filtered out everything above approximately 70Hz, leaving only the deep low-frequency information.<\/p>\n<p id=\"ember77\" class=\"ember-view reader-text-block__paragraph\">By itself, the sub layer was not particularly obvious. Inside the complete drum mix, however, it added weight that could be felt more than heard.<\/p>\n<p id=\"ember78\" class=\"ember-view reader-text-block__paragraph\">Two additional samples supplied the attack and definition needed to help the kick remain audible against the guitars, bass and other instruments.<\/p>\n<p id=\"ember79\" class=\"ember-view reader-text-block__paragraph\">These samples sounded extremely clicky when soloed, but much of that attack disappeared once the complete arrangement was playing.<\/p>\n<p id=\"ember80\" class=\"ember-view reader-text-block__paragraph\">This is a useful reminder that drum processing should always be judged in context. A kick sample that sounds exaggerated by itself may be exactly what a dense mix requires.<\/p>\n<h3 id=\"ember81\" class=\"ember-view reader-text-block__heading-3\">Shaping the Kick Bus<\/h3>\n<p id=\"ember82\" class=\"ember-view reader-text-block__paragraph\">All the kick layers were routed to a mono kick bus.<\/p>\n<p id=\"ember83\" class=\"ember-view reader-text-block__paragraph\">Dan used an SSL-style EQ, initially reducing the input level because the signal was hitting the plug-in too aggressively.<\/p>\n<p id=\"ember84\" class=\"ember-view reader-text-block__paragraph\">He filtered out some of the extreme sub information below approximately 30Hz, then cut around 440Hz using a wide Q to remove unwanted midrange.<\/p>\n<p id=\"ember85\" class=\"ember-view reader-text-block__paragraph\">He also boosted approximately 4dB around 77Hz to restore the useful low-end punch after removing the unnecessary sub-frequency buildup.<\/p>\n<p id=\"ember86\" class=\"ember-view reader-text-block__paragraph\">Dan prefers wide EQ curves when working with an SSL.<\/p>\n<p id=\"ember87\" class=\"ember-view reader-text-block__paragraph\">When he needs to make a highly surgical correction, he is more likely to reach for something such as FabFilter Pro-Q. The SSL is used for broader tonal shaping.<\/p>\n<p id=\"ember88\" class=\"ember-view reader-text-block__paragraph\">Additional filtering removed some energy at the very top and bottom of the signal before the kick was heavily limited.<\/p>\n<p id=\"ember89\" class=\"ember-view reader-text-block__paragraph\">The limiting was substantial, but it worked for the aggression and consistency required by this particular song.<\/p>\n<h3 id=\"ember90\" class=\"ember-view reader-text-block__heading-3\">Using Parallel Compression to Create Size<\/h3>\n<p id=\"ember91\" class=\"ember-view reader-text-block__paragraph\">The kick bus was also sent to Dan\u2019s drum crush bus.<\/p>\n<p id=\"ember92\" class=\"ember-view reader-text-block__paragraph\">This parallel bus used SSL Blitzer with an extremely fast, 1176-style compression setting.<\/p>\n<p id=\"ember93\" class=\"ember-view reader-text-block__paragraph\">The drum crush was blended unusually loudly in this mix.<\/p>\n<p id=\"ember94\" class=\"ember-view reader-text-block__paragraph\">Dan normally keeps parallel drum compression lower, but \u201cMother Martyr\u201d benefited from the additional density, attack and ambience.<\/p>\n<p id=\"ember95\" class=\"ember-view reader-text-block__paragraph\">The session did not contain dedicated room microphones. Heavy parallel compression therefore became a way of generating the excitement and sustain that room microphones might normally provide.<\/p>\n<p id=\"ember96\" class=\"ember-view reader-text-block__paragraph\">When a drum kit is compressed aggressively, cymbal wash, microphone bleed and the natural decay of the kit become more noticeable. Dan used that effect intentionally to create the impression of a larger acoustic space.<\/p>\n<h3 id=\"ember97\" class=\"ember-view reader-text-block__heading-3\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-65250 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-scaled.png\" alt=\"\" width=\"931\" height=\"533\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-scaled.png 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-150x86.png 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-768x439.png 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-1536x878.png 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-2048x1171.png 2048w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-80x46.png 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-320x183.png 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-297x170.png 297w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-262x150.png 262w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-770x440.png 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-40x23.png 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-160x91.png 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-20x11.png 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-640x366.png 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-1060x606.png 1060w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-595x340.png 595w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-17x10.png 17w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-525x300.png 525w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-16x9.png 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-385x220.png 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.20-PM-1540x880.png 1540w\" sizes=\"auto, (max-width: 931px) 100vw, 931px\" \/><\/h3>\n<h3 class=\"ember-view reader-text-block__heading-3\">Thickening the Snare Drum<\/h3>\n<p id=\"ember98\" class=\"ember-view reader-text-block__paragraph\">The primary snare track also contained significant live bleed.<\/p>\n<p id=\"ember99\" class=\"ember-view reader-text-block__paragraph\">Dan again used Silencer, but he was careful not to remove everything between the snare hits.<\/p>\n<p id=\"ember100\" class=\"ember-view reader-text-block__paragraph\">Mike Mangini is an extremely dynamic player, so an overly aggressive gate could easily remove ghost notes, soft articulations or the natural movement of the performance.<\/p>\n<p id=\"ember101\" class=\"ember-view reader-text-block__paragraph\">The goal was control rather than complete isolation.<\/p>\n<p id=\"ember102\" class=\"ember-view reader-text-block__paragraph\">The original snare sounded slightly thin to Dan, so he added approximately 4.2dB around 104Hz using an SSL 4K-style channel strip.<\/p>\n<p id=\"ember103\" class=\"ember-view reader-text-block__paragraph\">A second snare layer, supplied by Mike, provided additional thickness.<\/p>\n<p id=\"ember104\" class=\"ember-view reader-text-block__paragraph\">Dan did not add any of his own snare samples.<\/p>\n<p id=\"ember105\" class=\"ember-view reader-text-block__paragraph\">Interestingly, he also used the gate on the sample itself. The sample had a bright, ringing decay, so shortening it with the gate helped it sit more naturally alongside the live snare.<\/p>\n<p id=\"ember106\" class=\"ember-view reader-text-block__paragraph\">This demonstrates that gates are not only corrective tools. They can also be used as tone-shaping devices, controlling the length and brightness of a drum sound.<\/p>\n<h3 id=\"ember107\" class=\"ember-view reader-text-block__heading-3\">Matching Plug-ins Across Drum Layers<\/h3>\n<p id=\"ember108\" class=\"ember-view reader-text-block__paragraph\">Dan often inserts the same plug-ins across related drum tracks, even when one of those plug-ins is not actively changing the signal.<\/p>\n<p id=\"ember109\" class=\"ember-view reader-text-block__paragraph\">For example, when an EQ is placed on the main snare track, he may place the same EQ on the snare sample or bottom microphone.<\/p>\n<p id=\"ember110\" class=\"ember-view reader-text-block__paragraph\">He does this to keep the signal paths consistent and avoid any possible latency or phase discrepancies.<\/p>\n<p id=\"ember111\" class=\"ember-view reader-text-block__paragraph\">Dan admits that modern delay compensation may already prevent these issues, but matching the plug-in chains gives him confidence that every layer remains aligned.<\/p>\n<p id=\"ember112\" class=\"ember-view reader-text-block__paragraph\">It is a small detail, but drum layers are extremely sensitive to timing and phase. Even tiny differences can alter the attack and body of the combined sound.<\/p>\n<h3 id=\"ember113\" class=\"ember-view reader-text-block__heading-3\">The AC\/DC Snare Frequency<\/h3>\n<p id=\"ember114\" class=\"ember-view reader-text-block__paragraph\">On the mono snare bus, Dan boosted several areas using broad curves.<\/p>\n<p id=\"ember115\" class=\"ember-view reader-text-block__paragraph\">He added presence around 5.5kHz and approximately 2.27kHz, then boosted roughly 3.5dB around 200Hz.<\/p>\n<p id=\"ember116\" class=\"ember-view reader-text-block__paragraph\">Dan describes 200Hz as one of his favourite frequencies on a snare drum because it provides what he calls the \u201cAC\/DC thickness.\u201d<\/p>\n<p id=\"ember117\" class=\"ember-view reader-text-block__paragraph\">That lower-midrange weight was a recurring target throughout this mix.<\/p>\n<p id=\"ember118\" class=\"ember-view reader-text-block__paragraph\">The snare was also processed with clipping and limiting. Dan generally does not limit snares this heavily, but the approach worked in this arrangement.<\/p>\n<p id=\"ember119\" class=\"ember-view reader-text-block__paragraph\">During the final chorus, he even automated the snare bus above 0dB because the section needed additional impact.<\/p>\n<p id=\"ember120\" class=\"ember-view reader-text-block__paragraph\">Dan normally tries to keep his faders at or below unity, but he is willing to break his own rules when the song demands it.<\/p>\n<h3 id=\"ember121\" class=\"ember-view reader-text-block__heading-3\">Building the Snare Reverb<\/h3>\n<p id=\"ember122\" class=\"ember-view reader-text-block__paragraph\">The snare was sent to two primary reverbs.<\/p>\n<p id=\"ember123\" class=\"ember-view reader-text-block__paragraph\">The first was a Lexicon 480L-style fat plate, one of Dan\u2019s favourite reverb sounds.<\/p>\n<p id=\"ember124\" class=\"ember-view reader-text-block__paragraph\">The second came from Wild Spaces and produced a shorter, thicker ambience.<\/p>\n<p id=\"ember125\" class=\"ember-view reader-text-block__paragraph\">Soloed, the combined reverbs sounded extremely loud. Within the complete production, however, the dense guitars and instrumentation absorbed much of the reverb.<\/p>\n<p id=\"ember126\" class=\"ember-view reader-text-block__paragraph\">This is another example of why effects should not be judged in isolation.<\/p>\n<p id=\"ember127\" class=\"ember-view reader-text-block__paragraph\">What seems excessive by itself may sound perfectly balanced in the mix.<\/p>\n<p id=\"ember128\" class=\"ember-view reader-text-block__paragraph\">All the snare reverbs were routed to a dedicated return containing another SSL 4K channel strip. Dan added more 200Hz to the reverb itself, reinforcing the thickness he wanted from the complete snare sound.<\/p>\n<h3 id=\"ember129\" class=\"ember-view reader-text-block__heading-3\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-65251 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-scaled.png\" alt=\"\" width=\"894\" height=\"494\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-scaled.png 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-150x83.png 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-768x425.png 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-1536x849.png 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-2048x1132.png 2048w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-80x44.png 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-320x177.png 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-307x170.png 307w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-271x150.png 271w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-770x426.png 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-40x22.png 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-160x88.png 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-20x11.png 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-640x354.png 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-615x340.png 615w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-18x10.png 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-543x300.png 543w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-16x9.png 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-385x213.png 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.13.56-PM-1540x852.png 1540w\" sizes=\"auto, (max-width: 894px) 100vw, 894px\" \/><\/h3>\n<h3 class=\"ember-view reader-text-block__heading-3\">Do Not Automatically Remove Every Bit of Bleed<\/h3>\n<p id=\"ember130\" class=\"ember-view reader-text-block__paragraph\">The session included an additional high-tuned side snare that appeared during certain fills and rolls.<\/p>\n<p id=\"ember131\" class=\"ember-view reader-text-block__paragraph\">This microphone also contained considerable spill.<\/p>\n<p id=\"ember132\" class=\"ember-view reader-text-block__paragraph\">Dan controlled some of the brightness and bleed, but he intentionally left much of it intact.<\/p>\n<p id=\"ember133\" class=\"ember-view reader-text-block__paragraph\">Inside the track, the spill added energy and movement.<\/p>\n<p id=\"ember134\" class=\"ember-view reader-text-block__paragraph\">Cleaning every microphone too aggressively can make a drum recording feel smaller and less exciting. Bleed is not automatically a problem. It becomes a problem only when it negatively affects the mix.<\/p>\n<p id=\"ember135\" class=\"ember-view reader-text-block__paragraph\">A certain amount of controlled leakage can help the kit feel cohesive and alive.<\/p>\n<h3 id=\"ember136\" class=\"ember-view reader-text-block__heading-3\">Preserving Mike Mangini\u2019s Tom Panning<\/h3>\n<p id=\"ember137\" class=\"ember-view reader-text-block__paragraph\">Mike Mangini is very particular about the positioning of his toms.<\/p>\n<p id=\"ember138\" class=\"ember-view reader-text-block__paragraph\">The toms were supplied as stereo tracks with Mike\u2019s preferred panning already established.<\/p>\n<p id=\"ember139\" class=\"ember-view reader-text-block__paragraph\">Although Dan would not normally work this way, he kept the stereo files and panned them hard left and right to preserve Mike\u2019s intended placement.<\/p>\n<p id=\"ember140\" class=\"ember-view reader-text-block__paragraph\">The toms did not require any samples.<\/p>\n<p id=\"ember141\" class=\"ember-view reader-text-block__paragraph\">Mike\u2019s tuning and playing provided all the power and consistency the production needed.<\/p>\n<p id=\"ember142\" class=\"ember-view reader-text-block__paragraph\">The main challenge was cymbal bleed. Because cymbals were positioned close to the tom microphones, cymbal crashes often appeared immediately after the tom hits.<\/p>\n<p id=\"ember143\" class=\"ember-view reader-text-block__paragraph\">Dan used Silencer, high-frequency filtering and manual fades to reduce those cymbal tails.<\/p>\n<p id=\"ember144\" class=\"ember-view reader-text-block__paragraph\">In some cases, he sacrificed a little of the tom\u2019s high-frequency attack to gain better control over the cymbal spill.<\/p>\n<p id=\"ember145\" class=\"ember-view reader-text-block__paragraph\">This was a practical compromise. Removing a small amount of brightness from the tom allowed it to sit more clearly in the complete kit.<\/p>\n<h3 id=\"ember146\" class=\"ember-view reader-text-block__heading-3\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-65252 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-scaled.png\" alt=\"\" width=\"854\" height=\"483\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-scaled.png 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-150x85.png 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-768x435.png 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-1536x869.png 1536w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-2048x1159.png 2048w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-80x45.png 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-320x181.png 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-300x170.png 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-265x150.png 265w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-770x436.png 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-40x23.png 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-160x91.png 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-20x11.png 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-640x362.png 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-1071x606.png 1071w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-601x340.png 601w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-18x10.png 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-530x300.png 530w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-16x9.png 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-385x218.png 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/Screenshot-2026-07-27-at-12.14.54-PM-1540x872.png 1540w\" sizes=\"auto, (max-width: 854px) 100vw, 854px\" \/><\/h3>\n<h3 class=\"ember-view reader-text-block__heading-3\">Processing the Tom Bus<\/h3>\n<p id=\"ember147\" class=\"ember-view reader-text-block__paragraph\">The toms were routed to a stereo tom bus containing an SSL 4K-style channel strip.<\/p>\n<p id=\"ember148\" class=\"ember-view reader-text-block__paragraph\">Dan reduced the input level, added some upper-midrange presence and cut around the 350Hz to 500Hz region.<\/p>\n<p id=\"ember149\" class=\"ember-view reader-text-block__paragraph\">This lower-midrange area can easily become boxy or cloudy on toms.<\/p>\n<p id=\"ember150\" class=\"ember-view reader-text-block__paragraph\">He also applied approximately 6dB of compression and removed some excess low-frequency buildup around 50Hz.<\/p>\n<p id=\"ember151\" class=\"ember-view reader-text-block__paragraph\">Although Dan had filtered high end from certain individual floor tom tracks to reduce cymbal bleed, he later restored some brightness on the combined tom bus.<\/p>\n<p id=\"ember152\" class=\"ember-view reader-text-block__paragraph\">This illustrates an effective way to approach drum EQ.<\/p>\n<p id=\"ember153\" class=\"ember-view reader-text-block__paragraph\">Individual microphones can be processed for control, while the combined bus can be shaped for overall tone.<\/p>\n<p id=\"ember154\" class=\"ember-view reader-text-block__paragraph\">The tom bus was also sent heavily to the drum crush, adding sustain and excitement without replacing the natural tom sound.<\/p>\n<h3><\/h3>\n<h3 id=\"ember155\" class=\"ember-view reader-text-block__heading-3\">Letting the Overheads Stay Open<\/h3>\n<p id=\"ember156\" class=\"ember-view reader-text-block__paragraph\">The overheads and individual hi-hat microphones were left largely open.<\/p>\n<p id=\"ember157\" class=\"ember-view reader-text-block__paragraph\">Dan did not aggressively gate or edit these tracks.<\/p>\n<p id=\"ember158\" class=\"ember-view reader-text-block__paragraph\">On the overhead bus, he added approximately 2dB around 12kHz, cut around 640Hz and boosted some 200Hz to continue reinforcing the weight of the snare and the kit.<\/p>\n<p id=\"ember159\" class=\"ember-view reader-text-block__paragraph\">The session included separate hi-hat microphones for the left and right sides of Mike\u2019s setup.<\/p>\n<p id=\"ember160\" class=\"ember-view reader-text-block__paragraph\">During certain sections, Dan used clip gain to bring up the hi-hat performance rather than heavily processing it.<\/p>\n<p id=\"ember161\" class=\"ember-view reader-text-block__paragraph\">Other cymbal and percussion microphones were treated according to how they sounded rather than relying entirely on their track names.<\/p>\n<p id=\"ember162\" class=\"ember-view reader-text-block__paragraph\">One microphone sounded like an overhead, so Dan treated it as an overhead.<\/p>\n<p id=\"ember163\" class=\"ember-view reader-text-block__paragraph\">This kind of listening-first approach is particularly important when receiving sessions recorded by someone else. Track labels can provide guidance, but the sound of the microphone should ultimately determine how it is used.<\/p>\n<h3><\/h3>\n<h3 id=\"ember164\" class=\"ember-view reader-text-block__heading-3\">Why Dan Does Not Use a Traditional Drum Bus<\/h3>\n<p id=\"ember165\" class=\"ember-view reader-text-block__paragraph\">Dan\u2019s routing differs from many mixers because he does not send the entire drum kit through one stereo drum bus.<\/p>\n<p id=\"ember166\" class=\"ember-view reader-text-block__paragraph\">Instead, he uses several individual buses for the kick, snare, toms, overheads and other drum elements.<\/p>\n<p id=\"ember167\" class=\"ember-view reader-text-block__paragraph\">Those buses are not then combined into another compressed stereo drum bus.<\/p>\n<p id=\"ember168\" class=\"ember-view reader-text-block__paragraph\">Most of the processing occurs at the individual track level, on the instrument buses or through parallel compression.<\/p>\n<p id=\"ember169\" class=\"ember-view reader-text-block__paragraph\">This approach allows Dan to control each section of the kit independently.<\/p>\n<p id=\"ember170\" class=\"ember-view reader-text-block__paragraph\">The kick can be limited heavily without forcing the cymbals through the same processing. The snare can receive additional thickness without affecting the toms. The overheads can remain open and dynamic while the close microphones supply aggression.<\/p>\n<p id=\"ember171\" class=\"ember-view reader-text-block__paragraph\">The drum crush then provides a shared source of excitement and ambience without locking the entire kit into a single processing chain.<\/p>\n<h3><\/h3>\n<h3 id=\"ember172\" class=\"ember-view reader-text-block__heading-3\">Serving the Performance<\/h3>\n<p id=\"ember173\" class=\"ember-view reader-text-block__paragraph\">The most important lesson from Dan Malsch\u2019s mix is that the technical decisions remain secondary to Mike Mangini\u2019s performance.<\/p>\n<p id=\"ember174\" class=\"ember-view reader-text-block__paragraph\">There are samples, gates, EQ, limiting, clipping, automation and heavy parallel compression throughout the session.<\/p>\n<p id=\"ember175\" class=\"ember-view reader-text-block__paragraph\">However, none of those techniques are intended to replace the drummer.<\/p>\n<p id=\"ember176\" class=\"ember-view reader-text-block__paragraph\">The original kick remains central. The snare retains its live character. The toms are completely natural and Mike\u2019s preferred panning is preserved.<\/p>\n<p id=\"ember177\" class=\"ember-view reader-text-block__paragraph\">Dan\u2019s processing adds weight, consistency and excitement while protecting the musical details that make Mike\u2019s playing distinctive.<\/p>\n<p id=\"ember178\" class=\"ember-view reader-text-block__paragraph\">That balance is the real skill.<\/p>\n<p id=\"ember179\" class=\"ember-view reader-text-block__paragraph\">Great drum mixing is not about using the most processing. It is about recognising what the performance already provides, identifying what the production still needs and adding only what helps the song.<\/p>\n<h3 id=\"ember180\" class=\"ember-view reader-text-block__heading-3\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-65253 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4.jpeg\" alt=\"\" width=\"739\" height=\"415\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4.jpeg 739w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-150x84.jpeg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-80x45.jpeg 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-320x180.jpeg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-303x170.jpeg 303w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-267x150.jpeg 267w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-40x22.jpeg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-160x90.jpeg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-20x11.jpeg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-640x359.jpeg 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-605x340.jpeg 605w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-18x10.jpeg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-534x300.jpeg 534w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-16x9.jpeg 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2026\/07\/images-4-385x216.jpeg 385w\" sizes=\"auto, (max-width: 739px) 100vw, 739px\" \/><\/h3>\n<h3 class=\"ember-view reader-text-block__heading-3\">Learn the Complete Mix<\/h3>\n<p id=\"ember183\" class=\"ember-view reader-text-block__paragraph\">In the full course, Dan takes you through the complete mix of Monolith\u2019s \u201cMother Martyr,\u201d including his session template, routing, EQ decisions, compression, effects, automation and master bus processing.<\/p>\n<p id=\"ember184\" class=\"ember-view reader-text-block__paragraph\">You will also receive the multitracks, allowing you to mix the song yourself or follow Dan\u2019s process step by step.<\/p>\n<p id=\"ember185\" class=\"ember-view reader-text-block__paragraph\"><strong>Get the full Dan Malsch course here:<\/strong> <a class=\"gMGbyJsRYUteavlpDnLYrBpIvmbltdaOw \" tabindex=\"0\" href=\"https:\/\/promixacademy.com\/course\/dan-malsch-mixing-monoliths-mother-martyr\/\" target=\"_self\" data-test-app-aware-link=\"\">https:\/\/promixacademy.com\/course\/dan-malsch-mixing-monoliths-mother-martyr\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgwVideo can&#8217;t be loaded because JavaScript is disabled: MIXING Mike Mangini DRUMS (https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgw) Mixing drums played by Mike Mangini presents an unusual challenge. The performances are already incredibly controlled. The drums are tuned beautifully, the dynamics are intentional and every fill is designed around the arrangement. In this video excerpt, Dan Malsch breaks down how&hellip;<\/p>\n","protected":false},"author":25,"featured_media":65254,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[40,250,20,12369],"tags":[434,13283,14107,13609,14446,13591,19,557,14097,14104,14331,14445,11449,21,14324,14325,13173,14447,14242,13521,581,445,14237,14105,14106],"class_list":["post-65248","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineer","category-drum-mixing","category-mixing","category-new-course","tag-compression","tag-course","tag-cymbals","tag-dan-malsch","tag-dream-theater","tag-drummer","tag-drums","tag-eq","tag-gate","tag-kick","tag-limit","tag-mike-mangini","tag-mix-bus","tag-mixing","tag-monolith","tag-mother-martyr","tag-music-producer","tag-ohs","tag-overheads","tag-produce-like-a-pro","tag-producer","tag-production","tag-room","tag-snare","tag-toms"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Mixing Mike Mangini\u2019s Drums With Dan Malsch - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/mixing-mike-manginis-drums-with-dan-malsch\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mixing Mike Mangini\u2019s Drums With Dan Malsch - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgwVideo can&#8217;t be loaded because JavaScript is disabled: MIXING Mike Mangini DRUMS (https:\/\/www.youtube.com\/watch?v=0jZCqDwIpgw) Mixing drums played by Mike Mangini presents an unusual challenge. The performances are already incredibly controlled. The drums are tuned beautifully, the dynamics are intentional and every fill is designed around the arrangement. 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