Dolby Atmos Highlights

Anthony Rodriguez has mixed and released over 100 projects in Dolby Atmos, spanning original scores, classical reimaginings, and major film/TV credits. Unlike many composers who hand off mixes, Anthony engineers his own immersive work — shaping depth, space, and storytelling directly in Atmos.

Film Composer - Dolby Atmos Mixer

Dolby Atmos Highlights

Anthony Rodriguez has mixed and released over 100 projects in Dolby Atmos, spanning original scores, classical reimaginings, and major film/TV credits. Unlike many composers who hand off mixes, Anthony engineers his own immersive work, shaping depth, space, and storytelling directly in Atmos.

Workflow Snapshot

Anthony Rodriguez’s Dolby Atmos workflow is structured in phases, ensuring every project translates from the stereo reference to immersive playback on consumer devices and professional systems.

Phase 1 – Foundation

Atmos production begins on Ollo Audio S5X headphones, built for spatial accuracy, with A/B comparison against the stereo master. This guarantees the Atmos version preserves the tone, balance, and dynamics of the approved stereo mix.

Depending on the delivery, stems may arrive pre-mastered, or Anthony may master the stems himself to match the stereo reference before expanding into Atmos. At this stage, he also makes critical decisions about which elements remain in the Atmos bed versus objects. Object metadata settings are fine-tuned carefully, since they determine how the mix will translate across playback systems.

Phase 2 – Creative Immersive Mix

After the foundation is secured, Anthony identifies the anchor elements of the track that must remain focal points in the immersive field. Supporting parts are placed across the quad zone (Zone 3), top speakers, or given light movement to build dimension.

Monitoring alternates between Ollo Audio S5X and Beyerdynamic DT 880 Pro headphones for complementary perspectives. Soloing is a key part of the process, allowing detailed listening to how reverbs bloom in front, mid, backstaging or across 7.0.2 / 7.1.4 layouts.

When stems are already mastered, Anthony works minimally with tools like Saturation Knob, multiband compression, Waves MV2, and Wholegrain Quartet DynPEQ for subtle EQ adjustments. If stems feel disjointed, he performs editing and crossfading to glue the mix together. Once the immersive field is balanced, the mix is leveled to spec at -18 LUFS (Depending on Genres) and -1.0 dBTP.

Phase 3 – QC & Delivery

QC begins with Audiomovers ListenTo, allowing clients to monitor the Atmos session in real time on their Apple devices in Spatial Audio mode or through their own Atmos-enabled speaker systems. This way, approvals happen directly in the playback environments that matter.

All routing is handled by Audiomovers Omnibus 3.0 running as a stand-alone application, which connects Pro Tools, the Dolby Renderer, binaural checks, and client streams without disrupting the session.

Final mixes are rendered through the Dolby Atmos External Renderer and assembled in the Dolby Atmos Album Assembler, ensuring they meet delivery specs for Apple Music, Tidal, and other platforms.

The QC process expands across Anthony’s monitoring ecosystem:

AirPods Max with the Binaural Renderer for Apple Music to replicate Apple’s most common Spatial Audio experience.
Audeze Maxwell headphones for high-fidelity immersive balance.
AirPods Pro, Jabra Elite 10 earbuds, Sonos Ace headphones, Atmos-enabled soundbars, and Amazon Echo Studio for consumer playback validation.

Each system is tested at both low and high volumes, with adjustments repeated until the mix is consistent everywhere. His Atmos work has also been showcased in professional studios (Dubway NYC, Fab Factory LA, The Engine Room NYC) during industry events, confirming that the same productions hold up on cinematic-grade Atmos rigs.

Featured in Apple Music’s Latin in Spatial Audio

Anthony Rodriguez's Dolby Atmos productions have been recognized beyond film and classical releases. His work was featured in Apple Music’s “Latin in Spatial Audio” playlist, highlighting his versatility as a Dolby Atmos mixer across genres.

Frequently Asked Questions

Q: What makes Anthony Rodriguez’s Dolby Atmos workflow unique?
A: Anthony structures his Atmos production in phases — from stereo A/B alignment with Ollo Audio S5X headphones, to object placement decisions, to QC across AirPods Max, Audeze Maxwell, and consumer Atmos speakers. This phased approach ensures the mixes translate across both professional studios and real-world listening devices.

Q: How do clients hear mixes during the process?
A: Using Audiomovers ListenTo and Omnibus 3.0 (run as stand-alone apps), clients can stream the Atmos session live and check it directly on their Apple devices in Spatial Audio mode, or on their own Atmos-enabled speaker setups.

Q: How do you balance stereo and Dolby Atmos versions?
A: Every Atmos mix begins with an A/B comparison against the approved stereo master. If stems aren’t mastered, Anthony masters them first to match the stereo reference. This ensures the Atmos mix enhances the original intent rather than changing it.

Q: What playback systems are used for QC?
A: QC includes AirPods Max with the Binaural Renderer for Apple Music, Audeze Maxwell, AirPods Pro, Jabra Elite 10, Sonos Ace, Atmos soundbars, and Amazon Echo Studio — tested at both low and high volumes for clarity and consistency.

Q: Where has Anthony’s Dolby Atmos work been featured?
A: His productions have been showcased in professional Atmos studios such as Dubway (NYC), Fab Factory (LA), and The Engine Room (NYC), and featured on Apple Music’s Latin in Spatial Audio playlist.