David Lanza | Feature Pt. 1 | Lanza + A Strange Loop + DFW Theatre

David Lanza | Sound Design | A Strange Loop

Meet David Lanza: The Multifaceted Sound Designer Behind the Scenes in DFW

When you think about what makes a production truly immersive, it’s often the sound you don’t consciously notice—the subtle musical underscoring, the perfect timing of a cue, the clarity of a voice in a packed house. That’s where David Lanza thrives.

With more than 150 theatrical sound designs and 75+ shows mixed under his belt, David has become one of the most trusted sound professionals in the Dallas-Fort Worth arts scene. His career spans everything from national tours to intimate black box theatres, from composing original music to teaching the next generation of engineers. Whether he’s building a custom sound system, mixing a live orchestra, or crafting the perfect comedic beat, David brings creativity, precision, and passion to every project.

We chatted with David to learn more about his creative process, the kinds of projects he’s excited about, and what makes a great sound designer essential to any production team. We are also THRILLED to have his expertise on our production of A STRANGE LOOP!

THE CHAT - DAVID LANZA

Working on A Strange Loop:Challenges and Creativity with Layout, Sound, Mix & Mics Tell Us About Designing within Circle's Unique Layout

Circle Theatre’s Three Quarter Thrust style stage means that I’m essentially designing for three audiences instead of just one. To be able to give each patron a clear mix, but still be able to provide some of the big and in-your-face sound that ASL requires, we added some additional speakers to each side of the stage. These allowed the mix to give some separation between music and vocals, while clearly covering each seat with a full mix. Additionally, some larger speakers were added upstage to do double duty as band monitors, and also to help localize some of the band mix to their physical location. With every band instrument being connected directly to the sound system, they didn’t create much acoustic noise on their own, so these additional speakers helped to give their performance a more natural feel, that than just the disembodied sound coming from speakers further away from the band members. 

The Band - Drumkit

The intimate nature of Circle’s seating layout means that the band is not all that far away from the audience. With electric keyboards, electric basses, and electric guitars this is not an issue, as all of the sound levels are able to be controlled. However, acoustic drumkits can provide a challenge. For this production I was able to provide a high end electric drumkit that allowed the drummer to play with a very natural feel similar to an acoustic kit, while also still providing a direct signal to the sound board that could be easily controlled and placed in the mix. 

Mix Position

One of the most important sound jobs in a musical is the A1. This role entails overseeing all the sound needs for each performance and usually includes mixing the show from behind the soundboard. For this production, Lili Johnson fills that role and as such is the one keeping all of the microphones and instruments and sound effects working as a cohesive unit night after night. This job requires being able to hear what the audience hears so that the mix can be adjusted accordingly. For this production, Circle Theatre’s TD, Kae Styron, constructed a position in the audience from which Lili could properly mix the show. I provided an Avantis Solo sound board to give the needed tactile control and versatile options that can’t easily be performed from a touchscreen tablet.

Mics

The microphone that an actor wears, and how they wear it, is a very important aspect of a sound design. Early on I identified two factors that would come into play for this production. 

The first was that the actors would spend a lot of time in the aisles, which for me means that they are in front of the speakers. To get a clear sound in those situations, it’s helpful to be able to get the mic very close to the actor’s mouth. Additionally I knew this was a high action show with lots of costume changes, and therefore an oft-used method of mic tape was going to be tough. The solution was to make some custom molded rigs that we could fit securely around the actors’ ears, and then attach the mics to those. Through some trial and error (and error, and error) we were able to come up with some rigs that fit securely and comfortably, and gave us the clear sound we needed.Another key consideration was honoring the central role that Blackness plays in this production. We knew that mic visibility could be distracting — especially since many standard mic colors are designed for lighter skin tones, and our existing stock was limited. Rather than settle, we saw this as an opportunity to be intentional: this show takes an unflinching, honest look at the Black experience, and every visual detail should reflect that care.

With that in mind, we customized ear rigs and tested a range of shades and markers to get each mic as close as possible to each actor’s skin tone. While it doesn’t affect the sound itself, this extra step was part of a larger goal — to create a cohesive, respectful, and collaborative piece of art down to the smallest detail.

What are some standout DFW projects that you're especially proud of, and why?

“The True History of the Tragic Life and Triumphant Death of Julia Pastrana, the Ugliest Woman in the World” by Shaun Prendergast, directed by Jonathan Fielding – Amphibian StageI’ve actually done two very different productions of this show at Amphibian, once in 2012, and again in 2020. The 2012 production was performed entirely in the dark and consisted of heavy sound-prop use performed live by the actors. That might be my favorite of the two productions, however, to answer the question, the 2020 production is one I’m the most proud of. That production (during Covid) was an all-audio experience involving recording 4 local and 1 out of state actors, and mixing it all together along with sound effects for a final product meant to be listened to in headphones. From turning Amphibian into a recording studio, to setting up the online feeds that could be shared with our director on the East Coast, an actress on the West Coast, and local cast on-site, to learning the Dolby software that I used to create a surround sound type of mix, this project really required a lot of creativity and hard work and I’m so proud of what we pulled off.

“Northside Hollow” written by Jonathan Fielding and Brenda Withers, directed by Jonathan Fielding – Amphibian StageThe setting of this production took place underground inside a collapsed/collapsing mine. Scenic Designer SeanColin Hankins created a stunningly realistic set that I wanted to match with an immersive sound design. We placed just about every speaker that we could get our hands on throughout the room at varying heights and locations. From subtle drips and echoes to terrifyingly booming mine collapse sequences, I think we really transported the audience to an extent that I don’t often get to do.

“Native Gardens” written by Karen Zacarias, directed by Sylvia Cervantes Blush – Dallas Theater Center. This was my first ever full sound design for DTC, and what makes me the most proud is that I feel like it represents a step of growth in my career. DTC has always put on top quality productions, and it’s a special thing to be a part of any time I get to work with them.

“Look Up” written by Kids Who Care, directed by Deborah Jung – Kids Who CareI have to include a show from my time with KWC because what we were able to pull together in a relatively short amount made me proud every summer. And that’s not to mention the training and support that we were able to give to so many kids in DFW and beyond. I chose this show specifically because it was one of my favorites. I got to write a couple of songs for it, and I feel like we really went all out with some fun vocal effects and sound cues timed with the projections.

Quick David Lanza FACTS:

• Have 30+ years of experience in DFW theater, and 15+ years of experience working with sound in DFW.
  

• Have a wide network of associates that can help out when I can’t, or provide additional support on jobs that need it.
  

• Have my own collection of wireless mics, instrument mics, speakers, amps, mixers, etc., and have connections with other low-priced rental options.
  

• Have worked in a variety of theaters, schools, churches, and performance spaces and I have a good idea of what you need rather than just going with what has worked somewhere else.
  

• Have a wide knowledge of the various areas of sound design, and know enough to know when I need to bring in a specialist when needed and possible.
  

• Take this seriously. It’s not a hobby or a side gig for me (with zero shame to people who do work in those capacities), but this is what I do full time.

Where can people hear your work or get in touch with you about a project?

The best way to hear most of my work is in context of the productions I’ve designed. Get out there and support live theater, and then be sure to give some love to ALL the designers that contributed!

Beyond that, I currently have a Soundcloud account: https://soundcloud.com/david-lanza-sound-design, where I upload some of my favorite original compositions from various projects I’ve worked on.

The best way to get in touch with me initially is through the contact section of my website: www.DavidLanzaAudio.com/contact.

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CHECK OUT PART TWO OF OUR DAVID LANZA FEATURE! We're chatting about his impressive career and diving into all things sound!

David Lanza | Pt. 2 | Career

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