Portfolio
Every project here represents a different challenge—a different conversation about what spatial audio could (or couldn't) bring to a song. Some are subtle. Some are bold. All of them started with listening.
Rock / Pop-Rock
11 releases
Rock lives in the middle—vocals front, guitars wide, rhythm locked. In Atmos, the temptation is to separate everything. But separation isn't always the goal. Sometimes the power comes from keeping things tight and adding just enough air to let the mix breathe.
Rock Releases
Pop-Rock
3 releases
Electronic / EDM
1 release
Electronic music already lives in constructed space. The challenge isn't adding dimension—it's deciding which elements need to move and which need to stay anchored. Too much movement creates chaos. The right amount creates flow.
Hybrid / Pop Crossover
4 releases
Hybrid genres demand flexibility. These tracks borrow from rock, pop, and electronic traditions—so the spatial approach needs to serve whichever element is driving the song at any given moment. The mix has to breathe with the arrangement.
What I've Learned
After working on releases for Apple Music, I've learned that the best Atmos mixes are the ones where you can't quite explain what changed—just that the song feels more present. That doesn't happen by following rules. It happens by listening, questioning every decision, and being willing to undo a day's work if it's not serving the song.
Trust the Stereo
If the stereo mix is working, my job is to extend it, not reinvent it. The artists and engineers who mixed it in stereo made thousands of decisions—I don't discard those lightly.
Design for Headphones
Most listeners will experience Atmos through binaural rendering on AirPods or similar. If it doesn't work there, the speaker configuration doesn't matter.
I'm currently providing ongoing mixing services for labels, with projects scheduled months ahead. If you're curious about working together, let's talk.