Today we’d like to introduce you to David Mackey
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
Music has always been the thing that drove me. It started with guitar—touring on the road straight out of high school, locking into grooves, chasing that unspoken energy that happens between musicians and an audience. There’s something primal about it, stepping into a room and making people feel something. That’s what hooked me.
But I’ve always been fascinated by the why—why certain melodies linger, why a single texture can shift the mood of an entire song. That curiosity led me into production, where music isn’t just played—it’s sculpted. The studio became a playground, a safe space to break the rules, flip the familiar into something new, and build a world from the ground up. That turned into crafting sounds, recording, collaborations, producing records, and eventually stumbling into sync licensing landing song placements on tv shows such as Grey’s Anatomy, Selling Sunset, and more.
At the heart of it all, that’s still the mission—to create, to explore, to push boundaries. To help artists not just find their sound, but feel at home in it. Because the best music isn’t just heard, it’s felt. It should be timeless yet fresh, effortless yet intentional. The kind of music that stays with you long after the last note fades.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
No way. It’s been anything but smooth—but that’s the point, isn’t it? Nothing truly worth doing comes easy. The creative path is full of late nights, self-doubt, and moments where you’re questioning everything. There’s no blueprint, no guarantees—just a relentless pursuit of something that feels real. But that’s what makes it rewarding. Every challenge sharpens the vision, every setback teaches you something, and every small win reminds you why you started in the first place. The struggle isn’t a detour—it’s the road itself.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
Music is about feel. At the end of the day, depending on the song, there may be as little as ~10 tracks or as many as ~200. But that part doesn’t matter so much. The song has to win first—with the just vocal and primary instrument. It that doesn’t hit, no amount of production will save it. Everything else is ear candy—textures, layers, the things you might not consciously hear but definitely feel. It’s about keeping the main thing the main thing—letting the core instruments do their job and keeping the vocal right where it belongs: front and center.
That’s how I approach everything I do. Whether I’m writing a song, creating sound palettes, editing, producing the track, the goal is the same—deliver the song in its best form. Sometimes that means stripping it back to its bones, somethings it means stacking layers until it becomes something bigger than the sum of its parts. I started out playing live, chasing those raw, unfiltered moments on stage. But the studio became the place where I found confidence in really sculpt something—bend sound, flip expectations, turn a simple idea into a full world.
I’ve had the wonderful opportunity to work with some sick artists—Chord Overstreet, Mikky Ekko, Sean C Kennedy, Jillian Jacqueline, Jill Andrews, Victory House Worship, just to name a few. Each project is different, but with the mission that stays the same: make music that feels alive.
What sets me apart? I don’t believe in clutter. Every sound, every texture, every space between the notes needs to serve the song. I’ve worked on everything from stripped-down, intimate recordings to massive productions with 200+tracks, and at the end of the day, the question is always the same: Does this feel good? If it doesn’t, it’s gone. The best music isn’t just heard—it lingers, stays with you. That’s what I chase every time I sit down to create.
We’re always looking for the lessons that can be learned in any situation, including tragic ones like the Covid-19 crisis. Are there any lessons you’ve learned that you can share?
If nothing else, COVID made it crystal clear—adapt or get left behind. The whole industry flipped overnight. Touring stopped, sessions moved online, and suddenly, being in the same room wasn’t an option. It forced me to rethink how I work, how I collaborate, how I create.
I leaned into my workflow, sound design, and production harder than ever. Remote work became the new normal, and honestly, it opened up doors. I started working with artists and writers from all over the world, people I might not have connected with otherwise. It proved that great music doesn’t need a multi-million-dollar studio—just some golden ears, nice instincts, and the right feel.
More than anything, it reinforced that nothing is guaranteed. You have to stay hungry, flexible, and keep creating, no matter the circumstances. Because at the end of the day, the people who keep pushing forward, no matter what, are the ones who last.
Pricing:
- Pricing can vary depending on the project, but here’s a general idea for anyone looking to collaborate:
- Production & Mixing: Custom pricing based on scope, but typically starts at $1,500 per track.
- Film Sound Design & Sample Library Creation: Rates depend on complexity—let’s talk about what you need.
- Session Work (Guitar, Bass, Keys, Programming, etc.): The Nashville standard, starting at $200 per song.
- Consultation & Creative Direction: Hourly or project-based rates available. (Every project is different, so I like to keep things flexible. It you’re interested in working together, let’s chat and find the right fit.)
Contact Info:
- Instagram: https://www.instagram.com/thedavidmackey/
- LinkedIn: https://www.linkedin.com/in/davidmichaelmackey/
- Other: https://msha.ke/davidmichaelmackey/
Image Credits
F2A0FB3A-674E-44D2-926A-438799DC03FB: Philip Sprinkle (Guitar for Mac Powell on Hits Deep Tour 2024)
IMG_1_SACRAMENTO, IMG_6_BOISE, IMG_7_MILWAUKEE: David Niacaris (Guitar for Mac Powell on Hits Deep Tour 2024)
ROX_2368: Roxy Moure (Guitar for Carly Burrus on the Rock Boat XX
IMG_1019_SEATTLE, IMG_1025_PORTLAND, IMG_1029_PORTLAND: Caroline Minton Mackey (Hits Deep Tour 2024)
IMG_4300_HOTEL: Kelley Elle (Recording in a Hotel with Kelley Elle & Abigail Osborn for their songs The Creek by Kelley Elle, and Gonna Get Over You by Abigail Osborn)
