Dolby Atmos Mix & Master

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

A: I'm especially proud of mixing a single that reached #1 on Colombian radio. My role was mixing engineer: I took a rough mix from the artist and their references and delivered a stereo mix that translated on every system, from earbuds to car speakers. Seeing a track I mixed connect with a mass audience — and later revisiting that catalog in Dolby Atmos — was the moment I knew my hybrid analog/in-the-box approach was ready for major-label standards.

Q: What are you working on at the moment?

A: Right now I'm mixing and mastering singles for artists in the US, Spain, Chile and Colombia, several with Dolby Atmos immersive versions for Apple Music. Alongside that, I co-teach "Dolby Atmos for Producers" with Veguzzi, helping other producers step into immersive audio.

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

A: Yes, I'd happily recommend Camilo Silva, whose work I know and trust. I like being able to point clients to reliable collaborators so the whole project comes together at the same professional level.

Q: Analog or digital and why?

A: Both, on purpose. Analog gear gives me color, weight and the dynamic range to push a sound until it feels alive; digital gives me speed, precision and recall-free revisions. My hybrid setup means you get the character of hardware and the consistency of a modern workflow — no compromise either way.

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

A: A fresh, current, professional sound with fast turnaround and no restriction on justifiable revisions. You'll get a mix and master that competes with today's top releases in your genre — in stereo and, if you want it, fully immersive Dolby Atmos.

Q: What do you like most about your job?

A: Taking a song from a rough idea to a finished record that competes with the releases the artist loves — and, with Atmos, giving listeners an experience they can feel around them. Hearing a client say the mix exceeded their references is the best part.

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

A: They usually ask how many revisions are included and how fast I deliver. My answer: I have no restriction on justifiable revisions, and I deliver in very fast turnaround times without sacrificing quality — that balance is exactly what I trained for.

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

A: That mixing is just about making things louder, or that Dolby Atmos is only for big-budget productions. In reality, a great mix is about balance and translation so your song sounds right everywhere, and Atmos is now accessible for independent artists who want their music to stand out on Apple Music and other spatial platforms.

Q: What questions do you ask prospective clients?

A: What genre and references are you aiming for? Do you want stereo only, or also a Dolby Atmos immersive version? What's your deadline and release plan? And can you send a rough mix or demo of the full song? These answers let me tailor the work and hit your target sound the first time.

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

A: Send your best rough mix plus two or three reference tracks that capture the sound you're chasing. The clearer your references, the closer I can take your song to that level — or beyond. Also ask whether the engineer can deliver both a polished stereo mix and a Dolby Atmos master; having both from the same person keeps your sound consistent across Spotify, Apple Music Spatial Audio and every platform.

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

A: The Lavry Gold converter, an SSL Fusion, the SPL Mix Dream, a Distressor, and a laptop loaded with FabFilter, Soundtoys, Oeksound, Sonnox and my Atmos rig — so I could still deliver both stealer stereo and immersive mixes from anywhere.

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

A: I've been mixing and mastering for nine years. I sharpened my craft at AudioMixingMastering, a worldwide mixing company where high volume and demanding standards pushed my work to a professional level. Along the way I became Avid-Certified in Dolby Atmos immersive mixing and built credits with Sony Music, Universal Music and Capitol Christian Music. I also co-teach the "Dolby Atmos for Producers" course.

Q: How would you describe your style?

A: Premium, modern and honest. I don't impose a signature that fights the song — I bring out the version of your track that sounds like today's best releases, with punch, clarity and space. And when the project calls for it, I take that sound fully three-dimensional in Dolby Atmos.

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

A: Jacob Collier — his sessions are dense, harmonically fearless and genre-free, which is exactly the kind of challenge that pushes an engineer to grow. Working on immersive Atmos mixes for music that complex would be a dream test of everything I've built.

Q: Can you share one music production tip?

A: Produce as if there were no mix, and mix as if there were no mastering. Every stage should stand on its own. The biggest jumps in quality don't come from a magic plugin at the end — they come from great decisions made early, when the arrangement and the recording are still in your hands.

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

A: Nine years and a stint at a high-volume worldwide mixing company mean I'm comfortable in almost any genre, but I'm sharpest in Pop, Hip Hop, Boombap, R&B, Trap, Reggaeton, Rock, Electronic and Gospel. I work in English and Spanish, and my mixes have reached #1 on radio and audiences across the US, Spain and Latin America.

Q: What's your strongest skill?

A: Translating an artist's reference into a finished, release-ready sound — in both stereo and Dolby Atmos immersive. As an Avid-Certified Atmos engineer, I bring immersive mixing that very few engineers offer, backed by nine years of mixing across pop, hip-hop, R&B, Latin and gospel for labels like Sony, Universal and Capitol.

Q: What do you bring to a song?

A: Clarity, punch and a modern, competitive sound, plus the option to elevate the track into immersive Dolby Atmos. I trained at a high-volume mixing company where fast turnaround and demanding standards were the norm, so I bring both speed and major-label-level quality to every song.

Q: What's your typical work process?

A: Send me your stems plus a rough mix and two or three reference tracks. Those references are my target — I'll take your song to that level or beyond, in stereo and, if you want it, in Dolby Atmos. I deliver fast, then refine with no restriction on justifiable revisions until it's exactly what you heard in your head. Clear communication, zero surprises.

Q: Tell us about your studio setup.

A: A hybrid room built to sound like the reference, not like a guess. Analog character from Lavry Gold, SSL Fusion, SPL Mix Dream and a Distressor, paired with the plugins I trust most from FabFilter, Soundtoys, Oeksound and Sonnox. I mix mostly in the box for fast, recall-free turnaround, and I monitor in calibrated Dolby Atmos — so I can deliver both a stereo mix and a true immersive master from the same session.

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

A: I study the engineers behind the records that define modern sound — Serban Ghenea's pop clarity, Bruce Swedien's depth and dimension. As artists, The Weeknd, John Mayer, Michael Jackson and Coldplay are constant benchmarks for translation and emotion. And Jacob Collier reminds me that great production has no genre limits. I chase that same standard on every mix.

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

A: Most clients come to me with a song that's almost there but doesn't yet sound like the records they love. I take it the rest of the way: vocal and instrument editing, a mix that competes with current releases, and a master that's loud, clean and translates everywhere. For artists who want to stand out, I also deliver a Dolby Atmos immersive version — something most engineers can't offer.