Immersive formats like Dolby Atmos aren’t something that get decided during mastering. By the time a project reaches me, that choice has already been made.
But long before that point, artists and mix engineers are often asking the same question:
Is immersive actually right for this record?
From a mastering perspective, some projects translate naturally into immersive formats, and others struggle. That difference usually has nothing to do with technology, and everything to do with intent and preparation.
Immersive isn’t “better”
Immersive isn’t “better” it’s different
One of the most common assumptions I see is that immersive formats are an upgrade. Bigger. More impressive. Automatically superior to stereo.
They aren’t.
Immersive formats are a different way of presenting music. They expose space, balance, and arrangement choices more clearly than stereo does. That can be an advantage (or a liability) depending on how the music is built.
Immersive decisions start at the arrangement
If immersive release is even a possibility, the conversation needs to start well before mastering. Arrangement choices matter more in immersive formats. Density, layering, and frequency overlap that feel exciting in stereo can become cluttered or unfocused when spread across a larger soundfield.
Music that tends to translate well into immersive formats often has:
- Clear musical roles for each element
- Intentional use of space and contrast
- Dynamics that support depth rather than fight it
None of that can be added at the mastering stage.
Mixing for immersive isn’t stereo+™
Another misconception is that immersive formats are just a wider version of stereo. They’re not. An immersive mix isn’t about filling every available space. It’s about choosing when space matters and when focus matters. That means decisions about balance, movement, and restraint are baked into the mix itself.
When immersive is treated as an afterthought, it usually sounds like one.
Mastering reflects the preparation
From a mastering perspective, immersive releases reveal how much thought went into the format choice upstream. When the preparation is intentional, mastering becomes about refinement and translation. When it isn’t, mastering can’t compensate for structural issues in the mix or arrangement. That’s true whether I’m involved in the project or not.
Choosing immersive is an artistic commitment
Releasing music in an immersive format is a commitment. Both a commitment of time and finances. The best immersive releases I've seen are more intentional and less of an afterthought. Immersive should not be thought of as a bonus feature. It works best when the format supports the song’s emotional and musical goals, rather than trying to elevate them artificially. Stereo and immersive aren’t a hierarchy. They’re tools, and each has strengths when used intentionally.
If immersive is part of the plan, it deserves to be considered early, not treated as an add-on at the end.