Dolby Atmos Mix

Q: What do you bring to a song?

A: I think it's the combination of the technical side and actually caring about where the song ends up. When I get a project I'm genuinely trying to figure out what it needs, not just running it through a formula. And with Atmos specifically, I try to use the format in a way that makes sense for the song, not just because it's available. There's a difference between a mix that's technically in Atmos and one that actually uses the space for something.

Q: What's your typical work process?

A: First thing I do is organize the project and go through everything technically — levels, phase, anything that could be a problem down the line. Then I do a full listen just to get a feel for where the song wants to go. That first listen before touching anything is important to me. Once I have a sense of direction I start working, and before I deliver anything final I send a reference so we're on the same page. How I do that depends on the client — sometimes a voice note explaining what I did, sometimes just the audio and let them react. I adapt to whoever I'm working with.

Q: Tell us about your studio setup.

A: I work out of a Dolby Atmos certified studio in São Paulo, acoustically treated and configured in 7.1.4 with Kali Audio monitors. For rendering I go internal or external depending on the session, Pro Tools is my DAW. The certification matters because it means the room actually meets Dolby's standards for immersive mixing, not just the gear list. When I'm making decisions about placement and space I'm hearing them in an environment that's been validated for that purpose, not approximating on stereo and hoping it translates.