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David Dansky, Mixing Audio With Texture
David Dansky has been mixing shows since 1970, stepping into live audio at a time when the industry was still young, raw, and being figured out in real time.
With a background in electrical engineering, David was uniquely positioned for an era when sound engineers were not just mixing shows. They were solving problems, adapting gear, learning from each other, and helping shape the systems and workflows that became part of the live sound industry.
“I wasn’t just mixing a band. I was mixing textures, tones, strings, horns, arrangements, and emotion. It was like having the 64-color box of Crayolas instead of the one with eight.”
His career took him from Mandrill, where he learned fast while mixing a band with horns, percussion, vibes, flute, and deep musical range, into the world of showroom entertainers, orchestras, theatrical productions, Las Vegas production shows, and international work. Over the years, David worked with artists and productions connected to Frank Sinatra, Barbra Streisand, Engelbert Humperdinck, Bette Midler, Debbie Reynolds, Shirley MacLaine, Neil Sedaka, Tommy Tune, Burt Reynolds, Donna Summer, Cher, Yoshiki, and many more.
A major theme in this conversation is texture. David talks about the difference between mixing a typical band and mixing a 32-piece orchestra, describing it like the difference between an artist having a box of eight crayons versus a box of sixty-four. For him, the beauty was in the tones, the arrangements, the strings, the horns, the space, and the emotional detail inside the music.
We also get into his early years with Mandrill, his time with MSI and A1 Audio, working with Frank Sinatra in the round, the A1 VIP self-powered system, early in-ear monitor experiments, House of Blues Sunset Strip, Splash in Japan and Las Vegas, Broadway and theatrical work, and what it meant to be part of a generation of engineers who helped cross-pollinate ideas across the industry.
David’s story is not just about the artists he worked with. It is about a period of live sound history when innovation was happening show by show, city by city, and engineer by engineer.
Learn more about David Dansky and see pictures referenced on eh episode here : www.HowWeGotLoud.com
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By Chris Leonard
4.7
77 ratings
David Dansky has been mixing shows since 1970, stepping into live audio at a time when the industry was still young, raw, and being figured out in real time.
With a background in electrical engineering, David was uniquely positioned for an era when sound engineers were not just mixing shows. They were solving problems, adapting gear, learning from each other, and helping shape the systems and workflows that became part of the live sound industry.
“I wasn’t just mixing a band. I was mixing textures, tones, strings, horns, arrangements, and emotion. It was like having the 64-color box of Crayolas instead of the one with eight.”
His career took him from Mandrill, where he learned fast while mixing a band with horns, percussion, vibes, flute, and deep musical range, into the world of showroom entertainers, orchestras, theatrical productions, Las Vegas production shows, and international work. Over the years, David worked with artists and productions connected to Frank Sinatra, Barbra Streisand, Engelbert Humperdinck, Bette Midler, Debbie Reynolds, Shirley MacLaine, Neil Sedaka, Tommy Tune, Burt Reynolds, Donna Summer, Cher, Yoshiki, and many more.
A major theme in this conversation is texture. David talks about the difference between mixing a typical band and mixing a 32-piece orchestra, describing it like the difference between an artist having a box of eight crayons versus a box of sixty-four. For him, the beauty was in the tones, the arrangements, the strings, the horns, the space, and the emotional detail inside the music.
We also get into his early years with Mandrill, his time with MSI and A1 Audio, working with Frank Sinatra in the round, the A1 VIP self-powered system, early in-ear monitor experiments, House of Blues Sunset Strip, Splash in Japan and Las Vegas, Broadway and theatrical work, and what it meant to be part of a generation of engineers who helped cross-pollinate ideas across the industry.
David’s story is not just about the artists he worked with. It is about a period of live sound history when innovation was happening show by show, city by city, and engineer by engineer.
Learn more about David Dansky and see pictures referenced on eh episode here : www.HowWeGotLoud.com