Dolby Atmos Mixing and Mastering

A normal mix places your sounds left to right. Dolby Atmos places them all around and above the listener, so your record feels open, three-dimensional and modern.

We take your song through a full mix and master first, then use advanced spatial techniques to position every element in the 3D field. Vocals sit forward, effects move around the room, and the whole record gains a sense of space you cannot get from stereo alone.

Atmos is the format Apple Music promotes for spatial audio. A proper Atmos mix helps your release stand out and future-proofs it for immersive playback.

Prefer a classic stereo release? Our Mixing and Mastering Service has you covered.

It is easy to picture Dolby Atmos as a room full of ceiling speakers, and to assume your audience will never have one. Almost none of them do. What they do have is headphones, and that is where the format reaches people.

On a supported platform, your Atmos mix is folded down to a binaural render in real time, so a pair of ordinary headphones places sounds around and above the listener. The same master also plays back through phone speakers, laptops, soundbars and proper Atmos systems, each one getting the version it can handle.

That is why an Atmos mix is judged on headphones as much as in the room. Your engineer checks the binaural render as they work, because a placement that sounds spectacular on a full rig and collapses on AirPods is not a finished mix.

Stereo gives you left, right and a sense of depth. Atmos adds height and the space behind the listener, which sounds like an obvious upgrade until everything is flying around the room and the song stops holding together.

The useful version is quieter than that. Lead vocal stays anchored in front, where the ear expects it. Kick, snare and bass stay centred and grounded, because moving your low end around the room buys nothing and costs focus. What goes out into the field is the material that was already creating width in stereo: pads, reverbs and delay tails, doubles, strings, crowd and room tone, the ad libs answering the lead. Height is where reverb finally has somewhere to live instead of crowding the middle.

The discipline that separates a good Atmos mix from a demo of the format is checking the fold-down. Your record still has to work in plain stereo for every listener who is not on a spatial platform, so every placement is chosen so it survives the collapse rather than disappearing or smearing.

Want the classic version instead? Our mixing service and mastering service cover a straight stereo release.

Send your tracks as high-quality stems (WAV, AIFF or another professional format). Clean, well-recorded parts give the immersive mix the most to work with.

Label everything clearly and include reference material if you have a spatial sound in mind. Up to 48 stems are included, with a small fee per extra stem.

Not sure your project suits Atmos? Message us on chat and we will tell you honestly.

This is the one requirement that catches people out. A finished stereo file cannot be turned into Atmos, because there is nothing left to place. Elements that were printed together are stuck together, and a mix where the whole drum kit arrives as one stereo pair can only ever be moved as one object.

The more separated your stems, the more the format can do. Send lead vocal apart from backing vocals, kick and snare apart from the rest of the kit, each synth or guitar layer on its own, and effect returns printed separately where you can, since a reverb on its own track is exactly the thing that benefits most from height.

Send 24-bit WAV or AIFF at the session sample rate, all stems starting at the same timestamp so they line up on import, named for what they are rather than Audio 07. Leave headroom and no limiter on the master bus. Up to 48 stems are included, and extra stems are 3 each.

If you are not sure your project suits Atmos, say so in chat before you order and we will give you an honest answer rather than sell you the upgrade.