David Lanza | Feature Pt. II | CAREER

David Lanza | Sound Design | A Strange Loop

Missed Part 1? Head to our Blog to Read About David + A Strange Loop and Local work! 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 - CAREER You’ve had a long and prolific career in DFW—how has working in this community shaped your approach to sound design?

I can’t talk about how this artistic community has shaped me without talking about Kids Who Care. KWC was a youth musical theater organization based in Fort Worth. I grew up performing with them as a child and then worked extensively with them from when I graduated college until they shut down in 2024. The exposure that I gained through the myriad of opportunities that KWC provided, gave such a strong foundation. Additionally the sense of professionalism that I learned there from collaborating with fellow working artists such as Chad Jung and Rabyn Tayor showed me that this can be a lifelong career.

Beyond that, the incredible community of fellow designers that I have the honor of crossing paths with always keeps me striving to grow my craft in ways that can do justice to the incredible art they bring to the table.

You’ve designed over 200 productions and mixed over 100 shows—what’s the difference between sound designing and mixing, and is it important for producers to invest in both?

Great question, as they are both very different and equally important! In the simplest terms, the sound designer oversees every aspect of what a show will sound like, and a mixer (or A1, or sound engineer, or board op, et al) are in charge of ensuring that the productions sound like what the sound designer intended. To compare it to another aspect of theater, the sound designer is the director and the mixer is the actor.

To go into a little more detail: The sound designer is in charge of planning everything that has to do with sound during a production. This could include any recorded sound effects, the acoustics of a room, how (or if) the actors wear microphones, how the orchestra hears the actors, how the actors hear the orchestra, how the audience hears both of those, along with a myriad of other aspects.

When we talk about the mixer, in a broader sense we are really talking about a position often called the A1. This is the audio technician that is in charge of making sure the sound design is properly implemented over the course of the production. This often means they are behind the soundboard mixing the volume of the actors, sound effects, and orchestra in real time, or it could mean that they are overseeing a team of other people performing those tasks.

As for the second part of the question, the answer is an unequivocal yes. It would be like hiring a great chef to plan the menu for a restaurant and then not caring about who cooks the food, or hiring an engineer to design a state-of-the-art aircraft and then not putting any thought into who flies it.

Now, are some productions simpler than others? Of course! There are certainly cases where a sound designer and the A1 are the same person, or the sound design is simple enough that an SM or PA can handle a small amount of sound tasks. However, those scenarios are the exception and not the rule.

Live theater is versatile by its very nature, and a good sound design needs to be flexible enough to match that versatility. Accomplishing that requires someone capable of reacting artistically to the needs of the show, while also having the technical knowledge to implement the plan.

You also compose original music for theater, ads, and apps. When does a project benefit most from custom music rather than stock audio?

I sort of have two answers to this.

The first is that original music provides endless options for versatility. There can be a back and forth between the designer/composer throughout the process to fine tune the music to exactly what is needed. For example, I recently composed some original music for a production of Treasure Island at University of Texas at Arlington. One track in particular underscored a group of pirates comically searching through the inn, as two other characters stayed one step ahead of them to avoid being caught. As the scene went through rehearsal, the director found moments that he wanted to emphasize or wanted the mood to shift, and I was able to respond with specific edits to the music to meet those needs without needing to start over with an entirely new track.

Now, the second answer is that I’m a self-taught music maker who is always looking for more opportunities to stretch my skills, so I will often suggest original music even if it ends up being more work on my end or is outside the scope of the project. I know my limitations and try to never force anything that isn’t the right choice, but if the director and I can land on a sound that fits the show, I feel like it’s a win-win.

Early on I started to realize that I wasn’t sure where the line between sound cue design ended and composition began, and so over the years I’ve tried to hone my composing skills a little bit at a time.

You’re involved in so many facets of the sound world—what kinds of projects are you currently working on, and what types of roles does your work typically translate to?

I’m currently in the process of designing the sound for Circle Theatre’s production of A Strange Loop and am really looking forward to getting that one up on its feet! Additionally I’m wrapping up a couple of system designs and installs at the auditorium of a local high school and at Amphibian Stage.

And then I’m also working on my taxes (yes, still), trying to figure out social media, organizing equipment and storage, and all of the other things that go along with doing this as a career.

In terms of my typical work, I really cover a lot of areas. In doing this full time, it helps to be able to be versatile in how I can contribute to a project so that I don’t limit my client base too much. That being said, projects that allow me to really dive into the artistic side of sound cue design and composing are what really get me the most excited.

Career & Local Impact

You’ve collaborated with an impressive range of organizations—from Dallas Theater Center to Fort Worth Academy of Fine Arts. How do you tailor your sound design to fit each company’s specific style or audience?

You know, I can’t say that I can recall a time I’ve tailored a design to a specific audience, because I believe that good theater transcends age limits. Are there some shows that are inappropriate for certain ages? Sure. But I fit my design to the show, not the audience, and let the theater’s marketing company do the rest.

As for a company’s specific style, again I think every show is different, even internal to one company, but what does tend to change between theaters is budgets. No sound design at all is often better than a poorly executed design. I take every offer seriously, but I’m also realistic with a theater if I don’t think I’m the right fit. I always try to make sure before I go into a project that the director or producer and I are both clear on what can be accomplished, and then I try to support the show in any way possible within those limits.

You mention teaching students how to mix the same musicals you’re running—how does mentorship fit into your work, and why is that valuable for schools and training programs?

I got my start working under some great mentors through Kids Who Care, and I’ve had the opportunity to return that over my years of work with them. That experience then led me to working with multiple schools and their theater programs. So with all of that, education has been deeply embedded in almost every step of my theater and audio life. From my view, there’s two main sides to the benefits of bringing up the next generation of sound designers and technicians.

The first is purely selfish, and that’s that some of the students I’ve worked with are more dedicated and curious than many professionals. It keeps me on my toes sometimes to see how hard they work and how quickly they are able to understand and adapt to new techniques and technology.

The second is that I think learning any technical theater skill is such a great way to expand a student’s mind in ways they may not otherwise have access to. The combination of planning, practicing, and performance all while working as part of a larger whole is not specifically unique to theater, but all of those aspects are on full display in an area that may appeal to students who aren’t finding them elsewhere. Additionally, the confidence that comes from learning a new skill and then executing it along with a team in front of your friends and family is second to none.

Creative Process & Philosophy

What’s your process like for collaborating with directors who may not be sound experts? How do you help bring their vision to life through audio?

A part of the job I feel like I do pretty well at is meeting a director where they are, and then getting them up to speed on what I need to best fulfill their vision. I have a questionnaire I usually send out to new collaborators to at least cover all the nitty gritty of how I work and what I will need logistically from them (or from a production staff). After that it’s all about keeping an open dialogue. I don’t need a director to understand everything that’s possible technically or how it works, I just need them to be able to tell me the end goal and then work backwards with me from there on the best way that I can support it.

What’s the weirdest or most unexpectedly satisfying sound cue you’ve ever created?

This answer is a bit of a cheat, because it wasn’t a sound cue and I didn’t create it. However, in the aforementioned production of Northside Hollow at Amphibian, director Jonathan Fielding started the show in the dark with one of the characters sharply banging a rock on a piece of metal cart track. It was such a shocking and impactful way to start the show, and I think one reviewer even called it out as part of the sound design, however I had nothing to do with it. It sticks with me because it reminds me to think outside the box and really use everything in the room to achieve the desired result rather than just relying on sounds played back through a speaker.

What do you wish more producers or directors understood about the value of sound design?

It’s an artform that is very often overlooked, and I think many producers and directors are used to treating sound design as a secondary thought when putting together their design teams and budget. Many scripts call for specific sound cues, and a director will rip those off of YouTube and call it a day. Or maybe they bring in someone to mix the show, but don’t have anyone design it and then wonder why “the mics sound bad.”

Not everyone knows how to sew a costume, and dealing with theater lights can be daunting to the uninitiated, but everyone has played some music off of iTunes and so they think they know what sound design is. I’ve had many directors tell me that they didn’t really understand what a sound designer could add until they had worked with a good one.

What kinds of projects are you especially excited to take on right now?

Anything that stretches my creative muscles is always a treat. And beyond that I always look forward to chances to work with friends and respected colleagues.

For anyone considering hiring a sound designer, what questions should they ask to make sure they’re getting the right fit—and why are you that fit?

I look at it the other way around. Rather than knowing what questions to ask, they should be able to describe their needs and the scope of their project in as much detail as they can, and then let the sound designer ask about any remaining questions from there. I don’t expect a client to always know what to ask but with clear communication we can usually come to a mutual understanding.

As for why I’m the fit? Well, I might not be! I never want to force myself on a project that isn’t right, however in the interest of a little self-promotion, when I AM the right fit it might be because I:

• 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.