Dan Wallin, Oscar-Nominated and Emmy-Winning Music Mixer,
Dies at 97
Variety
By John Burlingame
April 10, 2024
Dan Wallin, the music scoring engineer who recorded such
classic film scores as “Spartacus,” “Bullitt,” “The Wild Bunch” and “Out of
Africa,” died early Wednesday in Hawaii. He was 97.
Twice Oscar-nominated for best sound (1970’s “Woodstock”
and 1976’s “A Star Is Born”), he won a 2009 Emmy for sound mixing on the
Academy Awards telecast and received two additional Emmy nominations in the
sound mixing category (1992’s “Citizen Cohn,” 1996’s “Gotti”).
But it was Wallin’s skill behind the console, recording
and mixing musical scores for movies and TV, that won him legions of fans among
nearly all of Hollywood’s top composers and ensured steady employment for more
than half a century.
He recorded the music an estimated 500 films, including
those for “Bonnie and Clyde,” “Cool Hand Luke” and “Finian’s Rainbow” in the
1960s; “The Way We Were,” “Blazing Saddles,” “Nashville,” “King Kong” and
“Saturday Night Fever” in the 1970s; “Somewhere in Time,” “The Right Stuff” and
“Prizzi’s Honor” in the 1980s; “The Fugitive,” “Waiting to Exhale” and “The
Insider” in the 1990s; and “Far From Heaven,” “Seabiscuit” and “Rocky Balboa”
in the 2000s.
His television credits were equally stellar, including
multiple Emmy winners “Roots,” “Eleanor and Franklin,” “The Day After,”
“Lonesome Dove” and “Lost.”
Composer Michael Giacchino, who often hired Wallin to
record his music (including “The Incredibles,” “Ratatouille,” and “Up”), told
Variety: “Danny came up when being an engineer really meant you were an
engineer. He could build anything and also understood why and how it all
worked.
“In working with him, you’d think he’d be most valuable
in teaching you about recording, but in getting to work with him for so many
years, what he taught me most was about the orchestra itself: How to properly
orchestrate for any size group, what the old masters that he had been brought
up with did to solve certain problems.
“He’d lean over and say ‘have the first violin go up an
octave over the rest of the section’—and after doing it, it suddenly sounded
like the scores I grew up listening to. Lessons from the past!
“Danny delivered a constant stream of small lessons that
continually raised my game and made me better at what I did. He was a genius
and an endless fountain of knowledge from a period of Hollywood that is long
gone. I’ll be forever miss him and be grateful for the time I spent with him.”
Born March 13, 1927 in Los Angeles, Wallin grew up in a
Van Nuys orphanage, learned to play drums, and later served as a Navy aviation
radio operator during World War II. After the war, he worked in live radio,
handling big-band remotes from popular L.A. venues for CBS, and then moved to
television, working at KTLA in the 1950s.
Wallin joined Warner Bros. in 1965 and became the
studio’s in-house music engineer, choosing and placing microphones—often dozens
of them, capturing the sound of individual musicians and then balancing the
sound of 70 or 80 of them at million-dollar mixing boards — for such composers
as Alex North, Lalo Schifrin, John Barry, Bill Conti, David Shire, Jerry
Goldsmith, Elmer Bernstein, Henry Mancini and John Williams.
He spent 18 years at Warner Bros., but also worked on
scoring stages at Paramount, Sony, Todd-AO and the Record Plant. He even
recorded the gunshots for Sam Peckinpah’s Westerns, including “The Wild Bunch”
and “Pat Garrett and Billy the Kid.”
He once explained his recording philosophy to Film Score
Monthly: “Most people use microphones for the first chairs [of each section]. I
go the opposite way: I mic the sections, and then I fill in with the room
[sound]. I think a scoring mixer should be able to produce all the sounds, not
just an orchestra scoring sound.”
He and his wife, Gay Goodwin Wallin, who survives,
retired to Kauai in 2013.
WALLIN, Dan (Daniel Guy Wallin)
Born: 3/13/1927, Los Angeles, California, U.S.A.
Died: 4/10/2024,
Kauai, Hawaii, U.S.A.
Dan Wallin’s Westerns – score mixer, music scoring
mixer, music recording mixer, music re-recording mixer, music re-recordist, engineer.
F Troop (TV) 1965-1967 [score mixer]
A Big Hand for the Little Lady – 1966 [music scoring
mixer]
Firecreek – 1968 [score mixer] [re-recording mixer]
The Good Guys and the Bad Guys – 1969 [score mixer]
The Great Bank Robbery – 1969 [score mixer]
More Dead Than Alive – 1969 [score mixer]
The Wild Bunch – 1969 [score mixer] [re-recording mixer]
The Ballad of Cable Hogue – 1970 [score mixer] [re-recording
mixer]
Barquero – 1970 [score mixer]
Chisum – 1970 [music scoring mixer]
Flap – 1970 [score mixer]
There Was a Crooked Man… - 1970 [score mixer]
Big Jake – 1971 [score mixer]
Skin Game – 1971 [score mixer]
The Cowboys – 1972 [music scoring mixer]
Jeremiah Johnson – 1972 [score mixer] [re-recording
mixer]
Cahill U.S. Marshal – 1973 [score mixer]
Oklahoma Crude – 1973 [score mixer]
Pat Garrett & Billy the Kid – 1973 [score mixer]
The Train Robbers – 1973 [music scoring mixer]
[re-recording mixer]
Blazing Saddles – 1974 [score mixer]
Zandy’s Bride – 1974 [music scoring mixer]
The Master Gunfighter – 1975 [score mixer]
Black Bart (TV) – 1975 [music scoring mixer]
The Outlaw Josey Wales – 1976 [music scoring mixer]
The Shootist -1976 [score mixer]
The White Buffalo – 1977 [score mixer]
The Electric Horseman – 1979 [music recording mixer]
The Frisco Kid – 1979 [score mixer]
Wanda Nevada – 1979 [music re-recordist]
The Mountain Men – 1980 [music recording mixer]
The Legend of the Lone Ranger – 1981 [score mixer]
Zorro: The Gay Blade – 1981 [score mixer]
Three Amigos! – 1986 [score mixer]
Lonesome Dove (TV) – 1989 [music engineer]
Gunfighter’s Moon – 1995 [re-recording mixer]
Wild Wild West – 1999 [score mixer]
And Starring Pancho Villa as Himself (TV) – 2003 [music
scoring mixer]