Dave Greenberg is a mastering and mixing engineer steeped in the traditions of analog recording studios. Over the past twenty years, he has worked on a huge spectrum of music; from Grammy-nominated R&B to sub-cult math-rock, from San Francisco singer/songwriters to award-winning international artists.
In the late 1980s, Dave began his career working on-staff in professional recording studios while still a student at the School of the Museum of Fine Arts, Boston, making experimental music, electro-acoustic instruments, physical sound processors and award-winning installation works. After completing his MFA at the Mills College Center for Contemporary Music in the early '90s, he joined the engineering staff at Boomtown, a bustling commercial studio owned by Clio-winning music company Keller & Cohen. Boomtown was a fantastic crucible of music production, a studio where Dave eventually became chief engineer amid fast-paced sessions, household-name clients and session musicians; where the quality of music and engineering was kept high, under pressure to work well, work fast, and keep everyone in the room on their game and in good spirits. This forged an invaluable skill-set from within a studio atmosphere and workflow rarely seen these days.
Driven by increasing demand and a passion for the process, Dave's freelance work continued to build around his skills as a mixing engineer. The focus on mixing would lead to many successful and influential albums, and the building of a studio geared towards the finishing stages of music production. As many busy years of work progressed, the focus expanded to include mastering, which would grow to become his primary focus. Dave currently operates Sonopod Mastering, where his broad musical knowledge and extensive production experience inform this critically important final stage, working with artists, producers and labels worldwide.
In the MIRA program at St. Petersburg College, Dave teaches courses that share an aim to accelerate students' acquisition of the skills and practical experiences needed for making great records and great audio; bridging the gap between the technical and the creative, enabling each student to become a catalyst for every project they work on and every person they work with.
|0470 Summer Term 2013|
|MUM 1629 AUDIO MIXING TECHNIQUES I||2225||SPG||In Class||May 13 2013||Jul 19 2013|
|MUM 1629L AUDIO MIXING TECHNIQUES I LAB||2226||SPG||In Class||May 13 2013||Jul 19 2013|
|MUM 1629L AUDIO MIXING TECHNIQUES I LAB||2227||SPG||In Class||May 13 2013||Jul 19 2013|
|MUM 2680 AUDIO ENGINEERING FOUNDATIONS||1260||SPG||In Class||May 13 2013||Jul 19 2013|
|MUM 2682 APPLIED MIXING TECHNIQUES||2362||SPG||In Class||May 13 2013||Jul 19 2013|
|MUM 2945 INTERNSHIP: SOUND ENGINEERING II||2421||SPG||In Class||May 13 2013||Jul 19 2013|
|0465 Spring Term 2013|
|MUM 2601 MUSIC TECHNOLOGY AND RECORDING TECHNIQUES II||2179||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2601L MUSIC TECHNOLOGY AND RECORDING TECHNIQUES II LAB||2180||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2603 MUSIC TECHNOLOGY AND RECORDING TECHNIQUES IV||2421||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2612 CRITICAL LISTENING II: ANALYSIS OF CONTEMPORARY PRODUCTION TECHNIQUES||4445||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2678 AUDIO MIXING TECHNIQUES II||3159||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2678L AUDIO MIXING TECHNIQUES II - LAB||3160||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2678L AUDIO MIXING TECHNIQUES II - LAB||3161||SPG||In Class||Jan 7 2013||May 3 2013|
|MUM 2682 APPLIED MIXING TECHNIQUES||4672||SPG||In Class||Jan 7 2013||May 3 2013|