Dolby Atmos, Music Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: One project I’m especially proud of is the soundtrack for Jesus Returns. It’s a cinematic, Revelation-inspired piece that blends orchestral writing with modern sound design and was released in Dolby Atmos for an immersive spiritual experience. I composed, produced, and mixed the entire score, shaping the emotion and tension of each scene through layered instrumentation, vocal textures, and spatial movement. What made it special was the challenge: capturing something as grand as the Second Coming in sound—balancing awe, intensity, and hope in a way that felt both epic and intimate. The response from listeners was deeply moving, and it reminded me why I do what I do: to make music that doesn’t just sound good, but leaves a lasting impact.

Q: What are you working on at the moment?

A: I’m currently mixing several Dolby Atmos productions for global artists and just released two new singles: “Amantes y Amigos (Sinfónico)” and “Lloraré”, both part of an upcoming Latin EP. I also composed and produced the immersive soundtrack for Jesus Returns, a cinematic, Revelation-inspired score available in Dolby Atmos. On the scoring side, I’m working on trailer cues and film music for licensing, while also preparing for my upcoming AES presentation, where I’ll be showcasing how I use immersive tools like the Wholegrain Quartet plugin in my Atmos workflow. Every project I take on is about creating impact—whether it’s for streaming platforms, sync placements, or a powerful emotional experience.

Q: Analog or digital and why?

A: Both have their place—but I choose what serves the music best. I love the warmth and character of analog, especially on vocals, strings, or final glue. But I work primarily in the digital domain because it gives me precision, recall, and flexibility—especially when working in Dolby Atmos or across remote projects. For me, it’s never about analog versus digital—it’s about intention and results. If the sound moves you, the tools did their job.

Q: What's your 'promise' to your clients?

A: My promise is to treat your music like it matters—because it does. Whether I’m mixing, composing, or delivering in Dolby Atmos, I commit to bringing out the emotion, clarity, and power in your work. I won’t rush it, and I won’t settle until it connects. You’ll get a partner who listens, communicates clearly, and delivers with the same level of care and attention I bring to my own releases. From first note to final master, my goal is to help your project reach its full potential—artistically and sonically.

Q: What do you like most about your job?

A: What I love most is helping an idea become emotionally complete. Whether it’s a song, a trailer cue, or a film score, I get to shape the sound in a way that connects deeply with the listener. That moment when everything locks into place—when the mix breathes, the strings soar, the vocal hits just right—that’s everything. I also love the variety. One day I’m mixing a Latin track, the next I’m building a cinematic soundscape or delivering a Dolby Atmos master for global release. Every project is different, but the goal is always the same: to make the music feel unforgettable.

Q: What questions do customers most commonly ask you? What's your answer?

A: Most common question: “Will my mix translate across platforms—especially in Dolby Atmos?” My answer: Absolutely—and that’s one of my top priorities. I’ve developed a refined workflow that ensures my Atmos mixes sound immersive and intentional whether you’re listening on AirPods, an Amazon Echo Studio, or a certified Atmos speaker system. My work has been QC’d in certified rooms like Dubway Studios, Engine Room Audio, and The Fab Factory, so I know how to deliver a mix that holds up everywhere—not just in ideal conditions. I also get asked: “How many revisions do you allow?” I typically include two rounds of revisions, but I always aim to nail the creative direction early by having a clear conversation upfront. That way, revisions are minimal and purposeful—not endless guesswork.

Q: What's the biggest misconception about what you do?

A: The biggest misconception is that mixing—especially in Dolby Atmos—is just about placing sounds in space or making things louder. In reality, it’s about emotional translation. Whether I’m working in stereo or Atmos, my job is to make the music feel right—balanced, impactful, and meaningful to the listener. Another misconception is that remote mixing (especially on headphones) can’t compete with speaker-based studios. But with the right tools, experience, and quality control process, I’ve delivered Atmos mixes that translate flawlessly in certified rooms across NYC and LA. It’s not about gear alone—it’s about ears, instinct, and intent.

Q: What questions do you ask prospective clients?

A: I always start by asking a few key questions to understand the creative vision and end goal: • What’s the emotional intention or story behind this project? • Who is your audience, and where will this music live (streaming, film, sync, etc.)? • Do you have any sonic references or inspiration for the vibe you’re aiming for? • What are the technical requirements—Atmos, stereo, stems, sync-ready edits, etc.? • What’s your timeline, and how many revision rounds are you expecting? These questions help me tailor my approach and ensure I’m delivering something that not only sounds great—but connects, translates, and achieves the client’s goals.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Look for someone who understands both the technical and emotional side of music. It’s not just about getting a clean mix or a polished track—it’s about finding a partner who listens to your vision, elevates it, and delivers something that connects with your audience. Ask yourself: Does this provider understand the story I’m trying to tell? Also, don’t be afraid to ask for examples that match the style and depth you’re looking for. A great provider will not only have the skills—but the sensitivity to know when to push boundaries and when to protect the heart of your song.

Q: What was your career path? How long have you been doing this?

A: Officially music full time since 2008. But I’ve been involved in music since the age of 9.

Q: How would you describe your style?

A: My style is cinematic, emotional, and spatially intentional. Whether I’m mixing a Latin ballad, composing a trailer cue, or delivering a Dolby Atmos release, I focus on creating depth, movement, and emotional impact. I’m drawn to music that tells a story—and I shape every element to serve that narrative, whether through immersive positioning, dynamic contrasts, or tonal balance. My work tends to live at the intersection of precision and feeling—clean but never cold, bold but never overdone.

Q: Which artist would you like to work with and why?

A: I’d love to work with Hans Zimmer or Marc Anthony. Zimmer’s work redefined how cinematic music is experienced—his use of space, emotion, and texture continues to inspire how I approach Atmos and score mixing. On the Latin side, Marc Anthony represents the gold standard in vocal performance, arrangement, and musical storytelling. His music blends power, elegance, and tradition in a way that would be incredible to help shape sonically—especially in an immersive format like Dolby Atmos.

Q: Can you share one music production tip?

A: Clarity starts with intention. Before you tweak a single fader or plugin, know what the song needs to say. The best productions aren’t just well-mixed—they’re emotionally focused. Whether it’s a single vocal line or a full cinematic arrangement, every element should serve the message. Once that’s clear, the technical side becomes much more powerful.

Q: What type of music do you usually work on?

A: I primarily work on cinematic, trailer, Latin, and modern orchestral music, as well as immersive productions for film, TV, and streaming platforms. My projects often involve a blend of emotional storytelling and spatial depth—whether it’s scoring a dramatic scene, producing a salsa track, or mixing a Dolby Atmos release for Apple Music. I also work closely with artists and producers across genres like Latin pop, symphonic fusion, and contemporary instrumental, delivering mixes and compositions that feel powerful, polished, and ready for global release.

Q: What's your strongest skill?

A: My strongest skill is shaping emotional impact through immersive mixing and cinematic sound design. Whether in Dolby Atmos or stereo, I excel at translating musical ideas into mixes that feel expansive, intentional, and emotionally powerful. I have a deep understanding of spatial depth, dynamic contrast, and how to bring a sense of narrative to music—especially in film, trailer, and artist-driven projects. From a technical standpoint, my attention to detail, spatial automation, and ability to craft mixes that translate across platforms is what clients consistently trust me with.

Q: What do you bring to a song?

A: I bring cinematic depth, emotional clarity, and spatial storytelling to every song I work on. Whether I’m mixing, producing, or composing, my focus is on elevating the feeling—making sure every moment hits with intention and every element serves the bigger picture. From a technical side, I bring over 50 Dolby Atmos releases’ worth of experience, a sharp ear for dynamics and balance, and a refined workflow that translates across headphones, speakers, and streaming platforms. But what truly sets my work apart is how I shape the sonic space—using immersive techniques and custom processing chains to give each song movement, width, and emotional gravity. I don’t just make a song sound good—I help it connect, move, and last.

Q: What's your typical work process?

A: My process is collaborative, structured, and tailored to the needs of each project. It typically begins with a creative call or message to clarify the vision, goals, and technical requirements. Once materials are delivered, I organize and prep the session—whether it’s a stereo mix, Atmos session, or original composition. For Dolby Atmos or stereo mixing, I start by establishing tone and space, using a blend of trusted references and custom reverb/delay chains to build depth and clarity. I group stems strategically, apply dynamic EQ, and automate spatial movement to enhance emotional impact—especially for cinematic and trailer-driven material. If I’m composing or producing, I begin with theme and instrumentation, often layering piano, strings, synths, and percussion to shape the narrative before moving into arrangement and sound design. Every project goes through multiple internal revisions before I send the first client preview. From there, I incorporate notes and finalize the master—always aiming for sonic translation across platforms like Apple Music, TIDAL, Amazon, and sync-ready deliverables for film and TV.

Q: Tell us about your studio setup.

A: Thanks for sharing that—your studio has a warm, creative, and cinematic vibe that feels both personal and professional. Based on the image and your earlier notes, here’s a revised “Tell us about your studio setup” answer that matches what clients will actually see if you show them this space: ⸻ Walk Sound Studio is a hybrid pre-production and post-production space, built for storytelling through sound. The room is designed for both composing and mixing, with a cozy, acoustically treated environment that inspires creativity while delivering professional results. The composer section features a full-size MIDI controller, analog synths, and a production desk for scoring, sound design, and writing. The mixing section is centered around an Avid S1 and Dock control surface, used for both stereo and Dolby Atmos workflows. The setup also includes Questeds for nearfield monitoring, and a calibrated headphone rig (Audeze Maxwell) for detailed immersive mixing and QC. Soft lighting, acoustic panels, and personal touches like film posters and production memorabilia make this studio feel like a true creative haven—comfortable, focused, and built for artists and directors who want their sound to resonate.

Q: What other musicians or music production professionals inspire you?

A: My core inspirations come from the best in cinematic sound: Alan Meyerson, Hans Zimmer, Benjamin Wallfisch, and Junkie XL. Their work defines how emotion, scale, and sonic impact can drive a story—and that’s the level I aim to bring to every project I touch. From immersive Dolby Atmos mixes to trailer cues that need to hit hard, I study how these industry leaders shape space, rhythm, and energy to make music unforgettable. Their influence is present in how I craft depth, translate dynamics, and push modern music forward with a cinematic edge.

Q: Describe the most common type of work you do for your clients.

A: Most clients hire me for Dolby Atmos mixing, cinematic score mixing, and trailer-ready music production that delivers emotional impact and commercial polish. Whether it’s an Atmos mix for Apple Music or TIDAL, a film cue that needs to hit hard, or a Latin record that needs to shine in stereo, I’m brought in to elevate the sound and make it translate across platforms. I specialize in immersive, emotionally engaging mixes that hold up to industry standards and connect with audiences.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: No.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: 1. My Acoustic Bass guitar. 2. Congas 3.Pencil and Manuscript notebook. 4. Battery operated Keyboard until it dies. 5. Cowbell.