Services

Professional Dolby Atmos mixing for commercial music releases

How We Might Work Together

Every project is different, but the process is the same: I listen to your vision, I ask questions about what matters to you, and then I disappear into the work. Some clients need full Atmos production from scratch. Others have a stereo mix they love and just want to see what spatial audio could add—without losing what made the original special.

I don't have a "method." I have values. And those values shape how we collaborate, how I make decisions, and when I tell you something isn't working.

I work from a dedicated Atmos room in Auckland—a space designed to disappear. What I hear is what you'll hear.

Investment Tiers

Tier 1 — Indie / Emerging
USD $200-400 per song
  • Atmos adaptation from stereo mix
  • Binaural translation check
  • ADM delivery (Apple Music ready)

For indie artists and emerging projects. Same care, same process.

Tier 2 — Label / Producer
USD $550-1,000 per song
  • Everything in Tier 1
  • Revisions + iteration
  • Priority communication
  • Multi-system translation checks

Most of my work falls here. Includes the space to iterate until it feels right—for clients who value dialogue as much as deliverables.

Tier 3 — Catalog / Priority
USD $1,350+ per song
  • Everything in Tier 2
  • Priority scheduling
  • Flexible delivery formats
  • Direct collaboration throughout

For catalog material, tight deadlines, or projects that need first access to my schedule.

I don't compete on price. There are cheaper Atmos engineers, and there are more expensive ones. I charge based on the time I invest in truly understanding your work—and that timeline doesn't change whether you're an indie artist or a major label.

What You'll Receive

Every project ends the same way: with files you can release, tested on the systems where your audience will actually hear them. I deliver ADM files ready for Apple Music, along with binaural renders for headphone QC. If your distributor has questions, I'm available. If something doesn't translate the way it should, we fix it before you pay.

The timeline depends on the song. Some tracks need three days. Others need three weeks. I don't use templates, so I can't give you a one-size-fits-all turnaround estimate. What I can promise is that I stay in communication, share progress mixes as we go, and don't disappear between revisions.

If you're working from a stereo mix you love, I start there—matching the tonal balance, respecting the creative decisions you've already made. If you're building from multitracks, we talk through the artistic intent first, then I disappear into the work. Either way, the goal is the same: a spatial version that feels inevitable, not impressive.

I check every mix on headphones, in cars, on phone speakers—because binaural translation isn't optional. Most people will hear your work on AirPods or similar. If it doesn't work there, the speaker system doesn't matter.

What to Expect When We Work Together

I don't move fast. I don't use templates. I don't have a signature sound. What I do have is a commitment to making your song sound like itself—just with more dimension. That means I ask questions, I iterate, and I stay in communication throughout the process.

If you need someone who can turn around 20 tracks in a week, I'm not your engineer. If you need someone who treats each song like it's the only song that matters, let's talk.

Working Across Time Zones

I'm based in New Zealand, which means when you send notes at the end of your day, they're waiting for me in the morning. I've learned this works surprisingly well—you get time to think between revisions, and I get to work in focus without interruptions.

Geography doesn't matter anymore. What matters is whether we understand each other.

Let's Talk About Your Project

The best way to understand if we're a good fit is to just talk.

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