Why I Bet Everything on a Format No One Could Hear

In 2012, I built one of the first Atmos studios in Germany — back when it was strictly a cinema format. Music applications didn't exist yet; that came years later, once streaming platforms started supporting spatial audio for music around 2018/2019. Here's why I stayed.

I've mixed over 1,400 commercial Atmos releases — Sevdaliza, Moderat, Robin Schulz, Rodriguez Jr., Dubfire among them. This isn't that story. This is the one before it: the studio nobody understood, the years almost nobody could hear it, and the moment that made it worth it anyway.

14+ years in immersive audio·1,400+ commercial Atmos mixes·Founder, Spatial Audio Academy